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Oyo gears up for historic Olubadan coronation event

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Ahead of the coronation of the 44th Olubadan of Ibadanland, Oba Rashidi Ladoja, on Friday, September 26, 2025, the Oyo State Government has expressed readiness to host the historic event.

Also, security in the town had been strengthened ahead of the expected arrival of President Bola Tinubu and other important dignitaries.

On Wednesday, the advance team of the President arrived in Ibadan from the Federal Capital Territory, Abuja, in preparation for the event.

A senior security personnel, who did not want his name in print, told The PUNCH in Ibadan, “We are not here to play. We want decorum.

“If you are not invited, why can’t you look for somewhere else to enjoy the programme through available television or radio stations.

“Even if you are my friend or friends, stay clear of Mapo if you don’t have anything to do there.”

Ahead of his installation, Oba Ladoja, on Tuesday night, began traditional rites and remained in seclusion.

He will mark his 81st birthday today in seclusion, though activities were lined up across the town to celebrate the monarch.

Ladoja, who would receive both the staff of office and instrument of office on Friday, September 26, succeeds Oba Owolabi Olakulehin, who joined his ancestors on Monday, July 7, 2025, at the age of 90 years.

Mapo wears new look

The venue of the coronation, the historic Mapo Hall, started wearing a new look on Wednesday, as painting and cleaning up of the environment were ongoing.

The venue is the ceremonial coronation venue for Ibadan monarchs through the ages.

Successive Olubadans in history have been presented with the staff of office amid pomps at the Mapo Hall, after their crowning and traditional rites at the Oluwo palace in Oja’ba.

A visit to the Obafemi Awolowo Stadium, Ring Road, revealed ongoing preparations to receive and entertain important guests.

The venue is now fully set to host dignitaries arriving in Ibadan to celebrate the new monarch.

Ibadan airport opens

The Samuel Ladoke Akintola Airport, Ibadan, which was shut down for an upgrade to international standards in March 2025, reopened for two weeks in honour of the new Olubadan.

The remodelled airport received its first aircraft at 9:14 am on Wednesday, when the presidential advance team arrived for the Olubadan coronation..

A statement by the Oyo State Government, signed by the Special Adviser to the Governor on Media and Communication, Sulaimon Olanrewaju, said the successful landing underscored the readiness and capabilities of the airport’s infrastructure to handle high-profile flights safely and efficiently.

With the presidential flight scheduled to follow soon, the inaugural flight set a positive precedent for future arrivals and departures at the remodelled airport.

Hotels fully booked

Hotels across Ibadan witnessed a surge in patronage on Wednesday, as visitors trooped into the city ahead of Friday’s historic coronation.

Many facilities around the venue of the event, particularly in Ring Road, Mokola, Sango, Secretariat, Ikolaba, and Bodija, were fully booked, with guests arriving from within and outside the state.

The influx of dignitaries, traditional rulers, government officials, and tourists has turned the city into a beehive of activity.

Falola urges balance between tradition, modernity

Renowned Ibadan-born historian, Prof Toyin Falola, on Wednesday, urged Ibadan leaders to carefully balance their cherished traditions with the pressing demands of modern development.

He gave the advice in his coronation lecture delivered ahead of the coronation.

The lecture, titled “Ibadan in History: Issues in Tradition and Modernity,” was held at the International Conference Centre, University of Ibadan.

The programme was part of a week-long activity preceding the main coronation ceremony on Friday.

In his presentation, Falola highlighted Ibadan’s central role in Nigeria and Africa’s history.

He said, “Ibadan has always been a cultural epicentre. In the 19th century, it was the largest city in sub-Saharan Africa and a hub for politics, trade, and military power. It was also the center of palm oil production, exported to Europe.”

Falola said Ibadan’s traditions remained visible in everyday life.

“The past is still with us in the amala we eat, the language we speak, the clothes we wear, and our performances. These remind us that Ibadan is not only a city of history but also a city of the future,” he said.

On the significance of Ladoja ascending the throne, the historian stressed that Ibadan would benefit greatly from the monarch’s political and administrative experience.

“Having a former governor and senator as Olubadan is significant. His exposure as a politician, statesman, and administrator will guide Ibadan toward modernisation.

“The city must tackle issues like garbage collection, street cleaning, tree planting, and environmental upliftment. These are part of the responsibilities of modern leadership,” Falola said.

He further argued that kingship in Ibadan had never been static but had always adapted to new realities.

“The Olubadan, out of necessity, must balance tradition with the evolving demands of democracy, globalisation, and urban expansion,” he said.

Instead of monetary contributions, Falola revealed that his gift to the Olubadan would be intellectual.

“Today, I will not donate money to the series of events. Not that I do not have the money to give. Instead, I will give him a book to read. Just one book, spanning over 400 pages. I wrote it for this momentous occasion,” he said.

He emphasised that Ibadan should not only be seen as a historical city but also as an active contributor to African and global thought.

“The coronation is not a casual ceremony. It is part of how Ibadan negotiates authority, legitimacy, and the preservation of its culture in an ever-evolving world.

“This book connects the throne and the classroom, the palace and the archive.

“This publication understands that the book, ‘Ibadan in History: Issues in Tradition and Modernity,’ weaves together themes of politics, culture, literature, and urban development.

“It draws on Prof Falola’s decades-long scholarship, including earlier works such as ‘The Political Economy of a Pre-Colonial African State.’ ‘Ibadan, 1830–1900’ (1984) and Ibadan: Foundation, Growth and Change, 1830–1960 (2012).”

The historian also highlighted Ibadan’s intellectual and cultural powerhouses, including the University of Ibadan and generations of artists, writers, and scholars who have shaped Yoruba and African identities.

He, therefore, called for reflection on how Ibadan can embrace modernity without abandoning its heritage.

“This book ensures that Ibadan is remembered not just as a city of the past but as one of the future.

“It honours both a city and its monarch and situates Oba Rashidi Ladoja as a modern leader who must balance tradition with democracy, globalisation, and urban expansion,” he said.

Obasanjo warns Ladoja against political conflicts

Former President, Chief Olusegun Obasanjo, has congratulated Oba Ladoja on his formal ascension to the throne of Olubadan.

He also advised the new monarch to separate tradition and politics, noting that the new position requires humility and tolerance, among others.

In a statement by his Special Assistant on Media,  Kehinde Akinyemi, made available to newsmen on Wednesday, Obasanjo, in Yoruba royalty salutation, prays “Ade a pe lori, bata a pe lese.”

The former president, who, according to the statement, is presently in New York, United States, for the 80th United Nations General Assembly session, said, “I take this opportunity to congratulate you in advance of the formal announcement. Ade a pe lori, bata a pe lese.”

He added, “It is an exalted and responsible position to be the traditional ruler of all Ibadan people. It requires humility, patience, divine wisdom, tolerance, and advice from wide and varied quarters to succeed.

“Traditional rulership does not compete or conflict with political rulership. I wish you all the best and the grace, guide, and direction of Almighty God.”

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Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lara George: Nigerian Gospel Icon with a Global Voice

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Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

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In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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