Connect with us

Lifestyle

You’re a deadbeat father, Oluwo ex-wife slams monarch

Published

on

The Oluwo of Iwo, Oba Abdulrasheed Akanbi, has come under heavy fire from his  former wife, Queen Chanel Chin, who branded him a “deadbeat father” after the monarch accused the Ooni of Ife, Oba Adeyeye Ogunwusi, of conspiring with her to orchestrate his downfall.

Born in Canada to Jamaican parents, Chanel is the daughter of reggae star Ludlow “Bobo Zaro” Chin, renowned for collaborations with artistes such as Capleton.

Before her marriage to the Iwo monarch, she worked as a model and entrepreneur.

She reportedly met the king at a party in Lagos during a 2015 visit to Nigeria, but their union collapsed in December 2019 after almost three years.

In a widely publicised divorce statement, Oluwo premised the break-up on “personal irreconcilable differences.”

The monarch reportedly forced the queen out of the palace leading to heated public exchanges via social media in which the queen accused Oluwo of emotional abuse.

The controversy reignited on Tuesday after a video posted on Oluwo’s Instagram page went viral.

In the clip, the Iwo monarch alleged that the Ooni masterminded a plot against him by “packaging” Chanel for marriage, claiming the relationship was a setup designed to destroy him.

“He (Ooni) was looking for my downfall, and the next thing, they packaged a woman for me. I don’t know her from Canada, but it was packaged for me. It was a setup,” Oluwo alleged.

The monarch further claimed that Queen Chanel poisoned him twice, attempted to assassinate him, and bore a child whose paternity he now doubts.

“She had a child, which I don’t even know if it’s mine. I have to confirm that through DNA,” he said, accusing the Ooni of housing his former wife and allegedly having an affair with her.

Oluwo also declared that no power, traditional or spiritual, could kill him.

“Sango cannot kill me; Ogun cannot kill me. Only God determines when someone will die,” he insisted.

All attempts to reach the Ooni’s media aide, Moses Olafare, for comments were unsuccessful.

But in a statement shared on her Instagram page on Friday, Queen Chanel dismissed Oluwo’s allegations as “false, misleading, and damaging to the sacred Yoruba traditional institution.”

She clarified that she was introduced to the monarch by a respected Lagos oba, not the Ooni of Ife, as claimed.

“I was introduced to Mr Akanbi by a respected Lagos monarch, not by the Ooni of Ife. During my time as Olori Oluwo, I regarded this Lagos monarch as my Royal Father and still do with respect,” she said.

Chanel went further to accuse the monarch of abandoning their son, Prince Oduduwa, for over five years, describing him as a neglectful father.

“Mr Akanbi has been absent from Prince Oduduwa’s life for over five years. He only resurfaced in August this year in Canada, refused to sign passport papers, but dropped $500 – the first support Oduduwa ever received from him since we left the palace,” she revealed.

She urged the public to disregard the monarch’s claims, calling on traditional institutions to caution him.

“This shall be my final statement on the matter. Prince Oduduwa remains my beloved son, and I hold the Yoruba people in deep love and respect,” she added.

Marriage built on falsehood

Recall that in a 2020 interview with Saturday PUNCH, Queen Chanel described her marriage to Oluwo as one built on lies.

She denied allegations of infidelity and poisoning, stressing that she was used to boost the monarch’s public image due to her Canadian background.

“He used me to build his profile. People didn’t even know him before. He used me as a show horse, saying, ‘My wife is Canadian.’ He even named our son Oduduwa, a name elders later advised me to change,” she recounted.

Chanel maintained that contrary to Oluwo’s claims, they first met in Lagos at a party in 2015—not in Canada.

With both sides trading allegations, the bitter feud between Oluwo and his ex-wife has once again spilled into the public space, dragging the revered Ooni of Ife into the storm.

punch.ng

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Lifestyle

A LIST OF OBAS(KINGS) TRADITIONAL TITLES IN YORUBALAND (IN ALPHABETICAL ORDER)

Published

on

Aala of Ilala
Aale of Okelerin
Aare of Ago-Are
Aare of Sando Ofiki
Abodi of ikale land
Aboro of ibese land
Aboro of Ibooro land
Adeboruwa of Igbogbo
Afaji of Faji
Afonja of Ilorin
Aganmo of ganmo
Agbolu of Agbaje
Agbowu of Ogbaagbaa
Agura of Gbagura
Ajalorun of ife ijebu
Ajalorun of ijebu ife
Ajero of Ijero-Ekiti
Ajoriwin of Irawo
Akaran of Badagry
Akarigbo of Ijebu Remo
Akibio of Ilora
Akinyinwa of Ikinyinwa
Akire of Ikire
Akirun of Ikirun
Akosin of Ekosi
Akosin Of Ekosin
Alaafin of Oyo
Alaagba of Aagba
Alaawe of Awe
Alaaye of Aye
Alaaye of Oke-Ayedun
Alabere of Abere Ede
Alaboto of aboto
Alabudo of abudo
Alada of Ada
Alado of ado awaye
Alado of Ado-Awaye
Alaga of Aga-Olowo
Alagbeye of Agbeye
Alagbole of Agbonle
Alageere of Ago Are,
Alageere of Ofiki
Alagutan of Abegunrin land
Alaigbajo of arigbajo
Alaje of Ilu Aje
Alaje of Ilu-Aje
Alajede of Ijede
Alajinapa of Ajinapa
Alakaka of Akaka – Remo
Alakanran of Araromi
Alake of Egbaland
Alaketu of Ketu
Alakola of Akola
Alala of Ala-isin
Alamodu of Ago-Amodu
Alamonyo of Amonyo
Alana of Oke-ana
Alapa of Okin-Apa
Alaperu of Iperu Remo
Alapomu of Apomu
Alara of Aramoko-Ekiti
Alara of Igbokoda
Alara of Ilara – Remo
Alara of Ilara-Lagos
Alara of Ilara-Mokin
Alaran of Aran orin
Alararomi of Araromi Aperin
Alaremo of Aremo
Alasaba of Asaba
Alase of Ilasa Ekiti
Alasi of Asi
Alatori of Atorin Ilesha
Alawaye of Awaye
Alawe of Ilawe-Ekiti
Alaye of Aiyetoro
Alaye of Efon-Alaye Ekiti
Aláyégún of Ayégún
Alayegun of Ode-Omu
Alepata of Igboho
Alie of Ilie
Alofa of Ilofa
Aloffa of Ilofa
Apetu of Ipetumodu
Aragberi of Iragberi
Aragbiji of Iragbiji
Are of Ire
Aree of Ireeland
Aresa of Iresa (Aresapa of Iresa apa, Aresadu of Iresa Adu)
Aringbajo of Igbajo Ijesa
Arinjale of Ise Ekiti
Asaooni of Ora Igbomina
Asawo of Ayete
Aseyin of Iseyin
Asigangan of Igangan
Asu of Fiditi
Ataoja of Osogbo
Atapara of Iyeku
Attah of Ayiede Ekiti
Awara of Iwara- Iwo
Awara of Iwara-ijesa
Awaraja of Iwaraja
Awujale of Ijebuland
Ayangburen of Ikorodu
Deji of Akure
Deji of Arigidi Akoko
Ebumawe of Ago Iwoye
Ebumawe of Ago-Iwoye
Ẹbùrù of Ibà
Edemorun of Kajola
Ekesin of Ora igbomina
Eledidi of Edidi
Elegboro of Ijebu-Ijesha
Elegusi of Ikate
Eleju of Sanmora
Eleko of Eko
Elekusa of Ekusa
Elekuu of Odo eku-isin
Elepe of Epe
Elerin of Erin Ile
Elerin of Erin-ile
Elerin of Erinmope
Elero of Ilero
Eleruwa of Eruwa
Elesa Of Oke Ode
Elese of Ese Akoko
Elese of Ese Akoko
Elese of Igbaja
Elese of Ilese ijebu
Elesie of Esie
Eleyinpo of Ipapo
Eleyinpo of Ipapo
Ewi of Ado-Ekiti
Gbelepa of Gbelepa
Halu of Ode Aye
Jegun of Idepe
Jegun of Ile-Oluji
Lalupo of Gbagura
Lapoki of Igbolako
Laragunsin of Iyasan
Lumure of Ayeka
Moyegeso of Ijebu itele
Oba of Agboyi land
Oba of Jebba
Obaladi of Afon
Obalufon of Sepeteri
Obaro of Kabba
Obaro of Kabba
Obawara of Iwara-ife
Odemo of Isara
Odemo of Isara – Remo
Odemo of Ishara remo
Ogiyan of Ejigbo
Ogoga of Ikere Ekiti
Ogogo of Ifewara
Ogunsua of Modakeke
Ojomu of Ajiranland
Okere of Saki
Olaogboru Adimula of Ifeodan
Olisa of Imota
Oliyere of Iyere
Oloba of Oba ile
Oloba of Oba Osin
Oloba of Obaile
Oloba of Oba-isin
Oloba of Oba-oke
Oloba of USO land
Olobaagun of Obaagun
Olofa of Ofa
Olofun of Irele
Ologbagi of Ogbagi Akoko
Ologbagi of Ogbagi Akoko
Ologobi of Ogobi Ede
Ologotun of Ogotun-Ekiti
Olohan of Erijiyan Ekiti
Oloja of Epe
Oloja of Ikogosi Ekiti
Olojee of Oje-Owode
Olojoku of Ojoku
Olojudo of Ido Faboro Ekiti
Olojudo of Ido-Ekiti
Olokaka of Okaka
Olokaka of Okaka
Oloko of Ijebu imushin
Oloko of Oko
Olokua of Oku
Olokua of Okua
Olokuku of Okuku
Olokuku of Okuku
Olokuku Of Okuku
Olokusa of Okusa
Ololo of Oolo
Olomu of Omu aran
Olomu of Omupo
Olomun of Omuaran
Olona of Ada
Oloola of Ilara
Oloola of Ilara-Yewa
Olopanda of Oponda
Olopete of Opete
Olopete of Opete
Olopete Of Opete
Olora of Ora-Ekiti
Olore of Ore
Olorile of Orile Ifoland
Oloro Of Oro
Oloro of Oro
Olororuwo of Ororuwo
Oloru of Oru Ijebu
Olosan of Osan Ekiti
Olosi of Osi
Olota of Ota
Oloto of Are
Oloto of Ofiki
Oloto of Oto-Awori
Olowo of Owo
Olowu of Owu
Olowu of Owu-isin
Olowu of Owu-Kuta
Olowu of Telemu
Oloyan of Oyan
Oloyan of Oyan
Oloye of Oye-Ekiti
Oloyopo of Eggi-Oyoipo
Olu ifon of Ifon
Olu of Afowowa Sogaade
Olu of Ilaro
Olu of Ile-Ogbo
Olu of Imasayi
Olu of Itori
Olu of Mushin
Olu of Okeamu
Olu of Owode Ede
Olu of Owode Yewa
Olu of Sawonjo
Olu of Sekona Ede
Oluaso of Iberekodo land
Olubadan of Ibadan
Olubaka of Oka land
Olubara of Ibara
Olubeshe of Ibeshe Lagos
Olubosin of Ifetedo
Oludopo of Okeyapo
Olufi of Gbongan
Olugbo of Ugbo
Olugbon of Orile Igbon
Olugijo of Ogijoland
Olugunwa of Oke Amu
Oluigbo of Igbojaye
Olukoro of Ikoro Ekiti
Olumoro of Moro land
Olunisa of Inisa
Oluof Igbogila
Olu-oje of Ojenpetu Gadumo
Olupako of Shaare
Olupo Ajase-Ipo
Olupo of Ajassepo
Olupole of Ipole Ekiti
Oluresi of lresi
Olusi of Usi
Olusin of Ijara-isin
Olusin of Iji-irin
Olusin of Isanlu Isin
Olute of Ute
Oluware of Iware land
Oluwo of Iwo
Omola of Imala
Oni ilepa of Ilepa ilepa
Oni Irun of Irun Akoko
Onibeju of Ibeju-Lekki
Onibereko of Ibereko
Onidada of Dada
Onidere of Idere
Onidere of Idere
Onidiemin of Idi-emin
Onidigba of Iidigba
Onido of Iddo
Onidofa of Idofa
Onidofa of Idofa
Onidofian of idofian
Onidofin of Idofin
Onifaji of Faji
Onífẹ̀dẹ̀gbó of Fẹ̀dẹ̀gbóland
Onifo of Ifo
Onigando of Igando
Oniganmo of Ganmo
Onigbaja of Igbaja
Onigbamila of gbamila
Onigbaye of Igbaye
Onigbesi of Igbesi
Onigbeti of Igbeti
Onigbin of Oke-onigbin
Onigbope of Igbope
Onijabe of Ijabe
Onijaye of Ijaye
Onijoun of Ijoun
Onika of Ika
Onikereku of Ikereku
Onikogosi of Ikogosi
Onikoko of Koko
Onikole of Ikole kingdom
Onikosi of Ikosi
Onikoyi of Ikoyi
Onilado of Ilado
Onilai of Ilai
Onilala of Lanlate
Onila-odo of Ila-odo
Onilogbo of Ilogbo
Onilua of Ilua
Oniluju of Iluju
Onimaya of maya
Onimeko of Imeko
Onimeri of Imeri
Onimia of Imia
Onipapo of Ipapo
Onipara of Ipara-Remo
Onipopo of Popo
Oniro of Komu
Oniroko of Iroko land
Oniru of Iruland
Onirun of Irun Akoko
Onisaare of Ijannan
Onisaga of Isaga
Onisan of Isan Ekiti
Onisanbo of Ogboro
Onisemi of Isemi
Onisemi of Isemi-Ile
Oniseri of Iseri-Olofin
Onisiwo of Abagbo
Onitabo of Itabo
Onitede of Tede
Onitewure of Tewure
Oniwere of Iwere ile
Oniwere of Iwere-Ile
Oniwo of Odu-ore
Oniwo of Oke-aba
Oniwoye of Iwoye
Oniye of Iye-Ekiti
Onjo of Okeho
Onpetu of Ijeruland
Onpetu-Olojudo of Ife
Ooni of Ile-Ife
Oore of Moba land
Ooye of Iwoye
Orangun of Ila
Oree of Moba land
Oree of Otun Ekiti
Orimolusi of Ijebugbo
Orimolusi of Ijebu-Igbo
Orungberuwa of Ode-Erinje
Osemawe of Ondo
Oshinle of Okeona
Osile of Oke-Ona egba
Osolo of Isolo
Osolu of Irewe
Owa Ale of Ikare
Owa Obokun of Ijesha
Owá of Idanre
Owa of Igbajo
Owa of Ijesaland
Owa of Otan Ayegbaju
Owa Ooye of Okemesi-Ekiti
Owa Oroo of Agbado Ekiti
Owa-akinfin of Ikinfin
Owamiran of Esa-Oke
Owa-Oye of Oke-Imesi Ekiti
Owatapa of Itapa Ekiti
Sabiganna of Igana
Salu of Edunabon
San-o of kogga
Soun of Ogbomoso
Timi of Ede
Add yours if it is not there already.

Mayegun Research Team

 

Continue Reading

Lifestyle

Growing up in Afrika Shrine made me free — Made Kuti

Published

on

Singer, Omórìnmádé Aníkúlápó-Kútì, known professionally as Mádé Kuti, speaks to NAOMI CHIMA about his career and life as a member of the musically-acclaimed Kuti family

Growing up in a family with music and activism all around you, what were some of your earliest memories of life at the New Afrika Shrine?

One sure memory was when the New Afrika Shrine was opened. This wasn’t the original shrine where Fela performed, but the one my dad, Femi, and my aunt, Yeni, built in 2000. At the opening when I was just about five years old, I played the trumpet. Another vivid memory is of my dad performing four times a week in his 40s. On Fridays, I would sometimes watch him play all night for six hours, then head straight to school in the morning. The shrine gave me freedom. I was a troublemaker — jumping on tables, riding bicycles and skateboards. All my childhood memories of the shrine are happy ones.

Was there ever a time you considered another career besides music?

No! My interest in music developed naturally from all the exposure around me. It could have gone either way, but luckily, I loved it. Every instrument I wanted to learn, someone in my dad’s band taught me the basics. I moved fluidly from one instrument to another — it never felt forced. My dad only told me, “Practice if you want to be a good musician.”

What instrument did you learn first, and how many can you play now?

The first was the trumpet, then sax, piano, guitar, and drums. Between ages 15 and 18, I focused on piano so I could pass an exam for university. After that, I picked up the others again. I now play five comfortably. I tried violin once but never continued.

As someone with afrobeat roots and formal Western training, do you feel a responsibility to blend the two, or do you just let music guide itself?

I let music guide itself. Afrobeat is always the foundation, because it’s the genre I enjoy the most. From there, I allow everything else to flow naturally. I don’t constrain myself. Even on my latest album, you’ll hear a lot of stylistic differences. I am happy with that.

Would you like your children to become musicians?

I would like them to be whatever makes them happy. I just want them to have the same kind of freedom and liberty I had.

Do you think your family name influences the way the audience perceives your music?

I have always considered it a blessing to be part of such an incredible lineage; not just in entertainment, but in medicine, activism, and academics. From Doctor Koye to Doctor Beko, to Israel Oludotun Ransome-Kuti, it is a powerful heritage. I know that whatever I do creatively will always be attributed to the family, and I’m okay with that. However, I wish that people could sometimes take my music as art in itself, beyond the lineage. Yes, afrobeat exists today, thanks to Fela and Femi; but if I wasn’t a Kuti, how would people receive this same music?

Do you feel pressure to outdo your father or grandfather?

Not really. That burden fell more on my father’s shoulders. He had to create his own path while Fela was still at his peak. When my dad released his first hit, ‘Wonder Wonder’, people even claimed Fela wrote it for him. He had to deal with that stigma. My dad, unlike Fela, has always been very protective. He constantly gives me accolades and ensures people know I’m doing my own work.

What is the most important lesson you’ve learnt from your father?

Discipline. My dad worked incredibly hard, practising for long hours before performing. I also saw the struggles he faced touring internationally, especially when musicians used those trips to disappear and never return. This not only disrupted tours but also made it harder for other Nigerian musicians to get visas. That behaviour discouraged many top artists from touring with local bands. It taught me how deeply Nigeria’s circumstances can distort people’s sense of loyalty and responsibility.

How do you approach songwriting, given the political and social themes in your work?

I usually prioritise music first — the texture, instrumentation, and structure — before lyrics. Many of my pieces are instrumental or have minimal lyrics. When I do write, it’s about issues I connect with, like jungle justice or Nigeria’s security failures, as in ‘Story with my Dad’. My latest album is more introspective, focusing on happiness and self-responsibility. It encourages people to stop blaming others and realise that if 200 million Nigerians worked together, real change could happen.

What inspires your stage presence?

It took time to overcome nerves, but experience has been my best teacher. From playing bass and sax in my dad’s band to classical piano recitals and leading my own shows, I grew more confident. Smaller crowds can even be tougher than big ones. Ultimately, I learnt from my dad but refined my style through years of performing.

How do you balance being a husband and a musician?

That’s the easiest part of my life. My wife runs her own clothing brand, but she’s also my personal assistant, handling social media and everything related to my work. She travels with me for international gigs when possible. We are very naturally compatible; no stress or pretense.

How has marrying someone from a different tribe impacted your relationship?

Not at all. My family is already very mixed, and when I met my wife, it wasn’t about ethnicity; it was about values. Only during the last general elections did I notice ethnic tension, but I ignored it. I’d make the same choice a hundred times over.

What do you think Nigerian youths should focus on right now?

Young people need to move away from the distractions of Instagram and TikTok, and focus on resource-based information that helps them grow. Nigeria can either regress into complacency or rise with responsibility.

Do you feel pressure to use music for activism like your father and grandfather?

My grandfather and father did it powerfully. But I ask myself if people really listened. Doing the same thing may not bring new results. My focus is on individual accountability and cultural change. People often ask why I don’t sing about politicians, but what can I say that Nigerians aren’t already saying? If I do it aggressively, it might even seem like pandering. I prefer to sing about what I feel will be effective.

Who are your biggest musical influences?

As a teenager, I was into indie bands like Arctic Monkeys, Muse, Coldplay, and Radiohead. I’ve always been more drawn to instrumentalists than vocalists.

How do you unwind when not making music?

I play football every Saturday at my former school, play chess, relax with family, watch Netflix with my wife, and read.

How has your music evolved over time?

My first album came out before I ever played live. But performing at the Shrine, around Lagos, and internationally has shaped my songwriting. Learning from audience reactions has been my greatest teacher.

What advice do you have for musicians from famous families who want to stand out?

Don’t focus on standing out. Just be yourself and create honestly. I am blessed with access to the Shrine, a space I’ll never take for granted. The beauty of art is that it stands out naturally, even if not immediately appreciated.

How would you describe your relationship with your family?

We are a very close family. My dad, Seun, Aunty Banke, Kunle, Aunty Motun; everyone was around when I turned 30. The family extends beyond the Anikulapo Kuti name. There’s also the Ransome-Kuti side—Aunty Nike, Uncle Dotun—we’re all very connected. Even my grandmother— Remilekun Ransome-Kuti— Fela’s first wife, who just wrote a book; her side of the family is in London, and we always link up whenever we’re there.

What are you most grateful for?

The people I have had around me. I once told someone, “My dad is not a nepo baby,” because he grew up almost totally disenfranchised. Despite having a famous father, Fela publicly shamed him, and he had to teach himself everything, including the saxophone. One of his sisters even suggested he become a fisherman because “there’s more money and opportunity there.” Even now, at 62, my dad practises at least six hours a day. I admire that.

I have joked that we all probably need therapy, but the only reason my dad doesn’t is because he was brutalised and forced his way through life. Unlike him, I had access to the opportunities he wanted, such as studying music. He was pulled out of high school. I can read and write music, and I had great teachers, including my dad and a classical piano teacher from Argentina named Juan. I also had the support of my aunt, who was my guardian in London for seven years. My dad’s guidance even helped me choose the right wife.

I am also grateful for my five younger siblings, none of whom are into music. One wants to be a lawyer, another is into basketball. Ayo, who is popular on Instagram and TikTok, is very different from me.

Do you have any regrets?

Yes. I wish I had practised more when I was younger. I regret jumping from instrument to instrument, instead of learning them one after the other.

What’s the greatest challenge you’ve faced as a musician?

Trying to master your craft is incredibly hard. Some days are good; others are really bad. Instruments like the trumpet are deceptively difficult. It looks innocent, but it’s more demanding than the saxophone because it relies on mouth muscles that weaken quickly. If you skip practice for just three days, your sound suffers.

What’s your favourite food?

I don’t have a favourite anything. That’s my dilemma.

Do you have any other hobby aside from music?

I like cooking. I cooked in London for seven years, and now it’s a hobby. I cook for my wife on Valentine’s Day—more food than I can even eat. I also enjoy cleaning. I’m not obsessive, but I believe if you want to make the world a better place, start with your own space.

At home, no one is allowed to wear shoes inside; we even have signs everywhere. I still do chores, though I don’t really need to anymore, since I now have a community and employees. But growing up, my dad was a stickler for character more than career. He believed if you have good character, everything else will sort itself out.

What has your musical journey been like in recent years?

The past few years have been good to me. I have had opportunities many musicians don’t, but that’s largely thanks to performance income, not recordings or streaming. However, the Lagos music scene is struggling. A lot of venues and gigs have disappeared. The economy’s crumbling, and people can’t afford to pay musicians who don’t pull massive crowds. Many great musicians aren’t getting shows because no one wants to take the risk. So, while I’ve been fortunate, the industry in Nigeria is in a really poor state for most artistes.

What are you working on now?

I just released an album titled, ‘Chapter One: Where Does Happiness Come From?’ It’s an introspective project meant to inspire a mindset shift, not just for Nigerians, but globally. The world feels like it’s entering a dark age, with war, technological dominance, drones, and AI replacing jobs. We are slowly stripping life of its humanity.

I am currently performing and promoting the album. We are in Paris on October 20, Berlin on the 15th, and Montreux, Switzerland, where I’ll be a mentor for three days. After that, I’ll return to Lagos to play at the exhibition at Ecobank, running from October to December. It’s a major showcase of Fela’s legacy, featuring both physical and digital material. I’ll be performing there on October 31.

What do awards and recognitions mean to you?

To me? Not much. But to my career? They’re a great opportunity. Awards don’t make my songs better, but they open doors, bring more attention and credibility.

punch.ng

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading

Lifestyle

The History of the Awori Clan – First Settlers in Lagos

Published

on

The Awori are a sub-group of the Yoruba people, speaking their own distinct dialect of the Yoruba language. They are widely regarded as the earliest settlers of Lagos and its surrounding areas.

According to oral history, the Awori trace their origin to Olofin Ogunfunminire, a prince and descendant of Oduduwa, the progenitor of the Yoruba race. When Olofin and his followers left Ile-Ife, Oduduwa gave him a mud plate (awo), instructing him to place it on the river and follow it until it sank. This mystical plate was to guide them to their destined settlement.

The journey southward unfolded in stages:

The plate first stopped near Olokemeji, close to present-day Abeokuta, for 17 days.

It then moved to Oke-Ata, where it stayed another 17 days.

At the southern outskirts of Abeokuta, the plate rested again for 17 days. Here, some of Olofin’s followers, led by Osho Aro-bi-ologbo-egan, chose to remain permanently.

The plate continued downriver and eventually halted at Isheri, where it stayed for a much longer period—289 days. Olofin instructed his people to begin building a permanent settlement there. However, when the plate resumed its journey, Olofin followed with a smaller group, leaving others behind at Isheri.

After two days, the plate stopped briefly at Iddo (Lagos Island) and finally sank at Idumota, in the heart of present-day Lagos. When Olofin returned to his people, they asked where the plate was. He replied: “Awo ti ri” (“the plate has sunk”), which is believed to be the origin of the name Awori.

In keeping with Yoruba custom, Olofin and his descendants carried their crown from Ile-Ife. One of his sons, Osolo, settled in the Osi quarters, while others moved further south. The Awori eventually spread across Lagos, Ogun, and parts of Osun.

The first crowned king of the Awori in Ota, Ogun State, was Oba Akinsewa Ogbolu, son of Osolo, who ascended the throne as the Olota of Ota in 1621.

Thus, the Awori established themselves as one of the most influential Yoruba sub-groups, laying the foundation for Lagos as we know it today.

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading

Trending