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Ajibike Ogunyemi: The Osogbo Sculptor Bridging Tradition and Modernity

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Exploring the life and art of Ajibike Ogunyemi, a leading Nigerian sculptor whose metalworks preserve Yoruba spirituality through contemporary expression.

The image depicts a striking metal sculpture created by Ajibike Ogunyemi, one of Nigeria’s most respected contemporary sculptors. A native of Osogbo, Osun State, Ogunyemi is widely known for his mastery of metalwork and his connection to the New Sacred Art movement, which blends traditional Yoruba spirituality with modern artistic innovation. His works embody the living relationship between art, religion, and identity in southwestern Nigeria.

Early Life and Cultural Background

Ajibike Ogunyemi was born and raised in Osogbo, a historic Yoruba city celebrated for its rich cultural traditions, craftsmanship, and devotion to the goddess Osun, the deity of fertility, love, and rivers. Growing up in such an environment, Ogunyemi was surrounded by a thriving community of artists, carvers, and craftsmen inspired by Yoruba cosmology.

His artistic journey began under the influence of the Osogbo art movement, a collective of Nigerian artists who redefined African art during the mid-20th century. This movement was notably influenced by Austrian artist and priestess Susanne Wenger, who, along with local collaborators, revitalised the Osun-Osogbo Sacred Grove through sculpture, painting, and shrine design. Ogunyemi’s deep appreciation for Yoruba spirituality and his natural skill in metalwork positioned him as one of the heirs to this enduring legacy.

The New Sacred Art Movement

Ogunyemi’s association with the New Sacred Art movement is central to his identity as an artist. Founded in the 1960s by Susanne Wenger (Adunni Olorisha) and a circle of Yoruba artists, this movement sought to restore and preserve the sanctity of Yoruba religious sites, especially the Osun-Osogbo Grove — now recognised as a UNESCO World Heritage Site.

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The group’s members, including artists like Adebisi Akanji, Buraimoh Gbadamosi, and Jimoh Buraimoh, dedicated their craft to creating sculptures that depict Yoruba deities (Orisha) and mythological scenes. Ogunyemi emerged as one of the prominent sculptors of the second generation of this movement, known for his bold use of metal as a primary medium.

His works often feature symbolic forms inspired by Yoruba cosmology — serpents representing transformation, birds symbolising divine messages, and human figures embodying ancestral spirits.

Artistic Style and Medium

Unlike earlier Yoruba sculptors who primarily used wood, Ajibike Ogunyemi is known for his innovative use of metal. His sculptures often feature welded iron sheets, rods, and recycled materials, shaped into elaborate forms that reflect both spiritual and environmental awareness.

The choice of metal not only represents strength and durability but also connects to Yoruba notions of Ogun, the god of iron and war. In many of his works, Ogunyemi subtly references this deity, celebrating the spiritual power of metal as both a creative and protective force.

Through texture, scale, and rhythm, his sculptures evoke a sense of movement and ritual energy — as if the figures themselves are engaged in eternal dance with the divine.

Connection to Yoruba Religion and Symbolism

Ogunyemi’s art draws deeply from Yoruba mythology, where every creation embodies a link between the physical and spiritual worlds. His pieces are not merely decorative; they are ritual instruments designed to maintain the balance between humanity and the gods.

Many of his sculptures are installed within the Osun-Osogbo Sacred Grove, where they serve as guardians of shrines, paths, and altars. These works continue the Yoruba tradition of sacred art — not confined to galleries but integrated into daily worship and community life.

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By reimagining traditional forms in modern materials, Ogunyemi ensures that Yoruba spirituality remains relevant in the 21st century.

Legacy and Influence

Ajibike Ogunyemi’s contribution to Nigerian art goes beyond aesthetic innovation. His work symbolises the continuity of Yoruba culture amid rapid modernisation. Through his sculptures, he has bridged generational and cultural gaps, ensuring that sacred Yoruba symbols remain alive in the global art scene.

He has exhibited his work both locally and internationally, contributing to Nigeria’s growing reputation in contemporary art. Many of his pieces are preserved in museums, galleries, and spiritual sites, particularly in Osogbo, where his artistic journey began.

Ogunyemi is often described as one of the spiritual successors of Susanne Wenger, continuing her mission to protect and celebrate Yoruba sacred spaces through art.

References

1. UNESCO World Heritage – Osun-Osogbo Sacred Grove

2. Drewal, Henry John. Yoruba Ritual: Performers, Play, Agency. Indiana University Press, 1992.

3. National Commission for Museums and Monuments (Nigeria) – Artists of the Osogbo School.

4. African Arts Journal, Vol. 35, No. 2 (2002) – The Osogbo Artists and the Sacred Grove Tradition.

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Plateau gov apologises to Igbo over civil war role

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Plateau State Governor, Caleb Mutfwang, has apologised to the Igbo community for the role the state played during the Nigerian Civil War, saying the people of Plateau were “deceived” into participating in the conflict.

Speaking during an interactive session with Igbo leaders from the 17 local government areas of the state at the Government House, Little Rayfield, Jos, Mutfwang urged both sides to put the painful chapter behind them and strengthen the bonds of unity.

According to a report by The Guardian on Monday, the governor commended the Igbo community for its contributions to Plateau State’s socio-economic development, describing them as an integral part of the state’s growth and prosperity.

He noted that Plateau had remained one of the most accommodating states for the Igbo people since the end of the civil war and recalled that compensation had been paid for some of the losses suffered during the conflict.

“I apologise to the Igbos so that we can put the past behind us and continue to foster unity. We have become one family because our people were deceived into going to war, and we regret it. We must close that chapter and move forward.

“We must unite. We want the Igbos to regard us as their brothers and sisters, and together we must create an enabling environment where everyone can prosper,” Mutfwang said.

The governor also appealed to Igbo entrepreneurs in Plateau State to support indigenous businesses by creating opportunities for young people through mentorship and investment.

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“Nigeria is a great country, and no ethnic group has demonstrated the entrepreneurial spirit more than the Igbo. I encourage you to replicate that same spirit in Plateau. I also appeal to Igbo business owners to employ and train young Plateau indigenes,” he said.

During the meeting, leaders of the Igbo community endorsed Mutfwang for a second term ahead of the 2027 governorship election, citing what they described as his inclusive leadership, prudent management of resources and commitment to peaceful coexistence.

The endorsement was announced by the President-General of the Igbo Community in Plateau State, Chief Chidi Onah, who described the governor as a leader committed to equity and development.

“We hereby endorse Governor Caleb Mutfwang as the consensus candidate of the Igbo community for the 2027 governorship election. This endorsement is based on his competence, integrity, proven leadership and commitment to equity.

“He has promoted peaceful coexistence and created a business-friendly environment. He stood by us during the demise of our traditional ruler and has consistently engaged stakeholders to promote unity among the diverse ethnic groups in Plateau State,” Onah said.

Onah also praised the governor’s developmental efforts, saying the state had become more conducive for business and investment.

“Igbo people have lived in Plateau since before Nigeria’s independence. We appreciate the governor for compensating some of our members over disputed properties and urge Nigerians across ethnic and religious divides to support his administration,” he added.

Also speaking, former President-General of the Igbo Community Association, Mike Okunonke, described the Igbo as peace-loving people committed to the economic development of Plateau State.

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He said the community’s support for Mutfwang was based on his performance rather than political affiliation.

“We will vote for personalities, not political parties. Governor Mutfwang has demonstrated capacity by creating opportunities and reducing unemployment. We will mobilise our members across the 17 local government areas to support him,” Okunonke said.

He added that the endorsement reflected the cordial relationship the governor had built with the Igbo community through genuine partnership and inclusiveness.

The governor’s Special Adviser on Igbo Affairs, Barr. Jonah Okechukwu Ezekweme, commended Mutfwang for creating an enabling environment for the Igbo community to thrive in the state.

He urged members of the community to support the governor’s second-term bid while continuing to partner with the state government in creating employment and business opportunities for young people.

Earlier, High Chief Felix O. Akpunku welcomed members of the Igbo community on behalf of the governor and praised Mutfwang’s developmental projects across the state, describing his administration as one committed to inclusive governance and sustainable development.

The meeting also featured the formal presentation of the new President-General of the Igbo Community Association, Chief Chidi Onah, by the immediate past President-General, Chief Mike Ifeanyi Okunonke.

Other speakers, including Chief Dr. Nelson Mkparu and Hon. Maureen Odilimuo, also lauded the governor for his inclusive leadership and support for the Igbo community, pledging continued cooperation with his administration.

The meeting ended with both the Plateau State Government and the Igbo community reaffirming their commitment to peaceful coexistence, deeper collaboration and sustainable development across the state.

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Eight die, nine missing in Jigawa boat tragedy

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Twenty-three persons have been rescued, while eight bodies have been recovered from Sunday’s boat accident that claimed 40 passengers in Jigawa State.

The incident occurred at Malamawar-Yan Dutse in Ringim Local Government Area, where a wooden boat conveying about 40 passengers, mostly female farmers and labourers, capsized while crossing a waterway.

Boat accidents have remained a recurring tragedy in riverine communities across northern Nigeria, particularly during the rainy season, often attributed to overloading, failure to use life jackets and strong water currents.

The Police Public Relations Officer of the Jigawa State Police Command, SP Shi’isu Adam, confirmed the latest casualty figure to The PUNCH on Monday.

He said search and rescue operations continued for the remaining nine passengers.

“At the moment, we have successfully rescued 23 victims alive. Unfortunately, we have also recovered eight corpses from the river,” Adam said.

He explained that local divers, emergency responders and security personnel had been at the scene since the incident occurred to rescue survivors and recover bodies.

According to him, all the rescued victims received medical attention and were subsequently discharged.

“Those rescued are now safe at their homes as they were discharged to reunite with their families,” he said.

Adam added that the search for the remaining nine passengers would continue on Tuesday.

“We are not relenting. Our teams are combing the river and adjoining communities to ensure we find the remaining nine persons,” he said.

He appealed to residents of riverine communities to assist security agencies with useful information that could aid the rescue operation.

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The police spokesman also urged boat operators to avoid overloading and ensure that all passengers wear life jackets before embarking on any journey.

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Northern Christians query N1.9bn church share in N8bn religious budget

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The Northern Christian Association has asked the Federal Government to explain what it described as a wide disparity in the allocation of about N8.05bn for church and mosque projects in the 2026 Appropriation Bill, warning that the imbalance raises concerns over equity and equal treatment of citizens.

The association said it was not opposed to government support for religious projects but insisted that such interventions must be guided by the constitutional principles of fairness, transparency and justice.

In a statement issued on Monday by its Chairman, Rev Joseph Hayab, the NCA said reports indicated that about N1.91bn was earmarked for seven church-related projects, while approximately N6.14bn was allocated to 52 mosque-related projects in the 2026 budget.

According to the association, the disparity had reinforced concerns among many Christians over what it described as a persistent pattern of unequal treatment and selective implementation of government policies.

Hayab said, “How long will Nigerians continue to read stories that expose the hypocrisy of our leaders?

“The partiality, lack of equity and unequal treatment of citizens by government and political leaders are among the major factors responsible for division, distrust, segregation and the absence of genuine unity and love among Nigerians.”

He added that while Christians had continued to exercise restraint in the interest of national peace and unity, successive governments had often mistaken such patience for weakness.

The NCA argued that Nigerians had repeatedly witnessed actions exposing inconsistencies in governance, warning that perceived discrimination and double standards were eroding public trust and national cohesion.

“Our constitution recognises every Nigerian as equal before the law, while the teachings of all religions discourage unfair treatment of children, women, family members and fellow human beings.

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“Government should, therefore, not be seen to promote policies that suggest preferential treatment for one religious group over another,” Hayab said.

The association stressed that its position should not be interpreted as opposition to Islam, Christianity or government collaboration with faith-based organisations, but rather as a call for fairness in the distribution of public resources.

It maintained that if public funds were to be allocated for religious projects, such allocations should be transparent, balanced and devoid of any perception that one faith enjoyed greater recognition than another.

“NCA is challenging the Federal Government to explain these abnormalities. Government should not establish a system that creates division among citizens or gives the impression that one religious community is more important than another.

“Instead, it should initiate programmes and policies that unite Nigerians and strengthen our collective national identity,” the statement added.

The association further urged the Federal Government to review the allocations in line with the constitutional principles of fairness, equity and equal treatment, insisting that budgetary decisions should promote national unity and strengthen public confidence in the impartiality of government.

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