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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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Ohanaeze disowns installation of Igbo king in S’Africa

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The Ohanaeze Ndigbo Worldwide has rejected the controversial installation of an “Igwe Ndigbo na East London” in East London, South Africa.

It stated that the title is not recognised and lacks legal backing.

The PUNCH had earlier reported that violent unrest broke out on Monday in the Eastern Cape Province of South Africa following protests against the coronation, with demonstrators torching vehicles and looting shops owned by foreign nationals.

Video evidence shared on X showed protesters setting several vehicles and buildings allegedly belonging to foreigners ablaze, as security forces intensified efforts to restore order.

The outrage has continued to grow, with foreign-owned properties becoming primary targets.

However, in a statement by its National Publicity Secretary, Ezechi Chukwu, the group expressed concern over tensions triggered by the development, noting reports of attacks on innocent persons and destruction of property.

The statement read, “We express deep concern over the resulting disturbances, condemn the unwarranted attacks on innocent persons and destruction of property and call on relevant authorities to take necessary steps to prevent further escalation.”

The organisation condemned the violence and urged South African authorities to act swiftly to prevent further breakdown of law and order.

Ohanaeze stressed that the Igbo are globally known for their peaceful disposition, enterprise and respect for the laws of their host communities, as it dissociated itself from any conduct that contravenes local customs and traditions.

It clarified that the purported installation in East London “only amounts to a mere nominal observance since it is not backed by any law.”

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The group further noted that, in line with the position of the South East Council of Traditional Rulers, it did not recognise the conferment of the “Eze Ndigbo” title outside Igbo land.

Ohanaeze advised Igbo communities in the diaspora to adopt non-kingship titles such as “Onyendu” for internal coordination to avoid misrepresentation.

It also urged Igbo residents abroad to conduct themselves with discipline and respect for the laws of their host countries, while calling on the South African government and citizens to uphold peaceful coexistence.

The group appealed for calm, mutual respect and constructive engagement among all parties involved.

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Political titans, Dangote attend El-Rufai mother’s burial

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On Sunday, dignitaries from different political divides were present at the Central Mosque, Abuja, in honour of Hajiya Umma El-Rufai, the deceased mother of the former governor of Kaduna State, Mallam Nasir El-Rufai.

From his residence in Abuja to the mosque and lastly to the Gudu cemetery, both members of the opposition parties and the ruling party were present to offer condolences.

Specifically, his successor, Governor Uba Sani, the National Security Adviser, Mallam Nuhu Ribadu, were present in his house and at the funeral prayers.

The two had parted ways politically with El-Rufai, though they were mutual friends before.

Also present were former Vice President Atiku Abubakar, 2023 Labour Party presidential candidate, Peter Obi, former governor of Rivers State, Rotimi Amaechi, former governor of Sokoto State, Aminu Tambuwal, and ex-Adamawa State governor, Jibrilla Bindow.

All Progressives Congress governors were also in attendance, including Governors Babagana Zulum (Borno) and Mohammed Bago (Niger); former national chairman of APC, Abdullahi Ganduje; former Minister of Interior, Abdulrahman Dambazau, among others.

The 16th Emir of Kano, Lamido Sanusi, a former Zamfara State governor, Abdulaziz Yari, Senator Shehu Sani and billionaire businessman, Aliko Dangote, were also present.

At the interment of Hajiya El-Rufai at the Gudu Cemetery, Abuja, on Sunday, the former Minister of Communications and Digital Economy, Isa Pantami, held the two estranged friends (El-Rufai and Sani) by their shoulders and spoke a few words capable of melting the hardest of hearts.

Looking across his shoulders, he said, “Let us focus on the things that unite us because they are more than the things that divide us.

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This life and everything it contains will end, and the grave is our end. No matter how you strive, you won’t get anything until Allah (God) grants it to you.”

Atiku had earlier announced his attendance in a post on his verified  X handle, saying, “Today, I joined family, friends and associates of Mallam Nasir El-Rufai and the extended El-Rufai family at the Janazah (funeral prayer) of the matriarch of the family, Hajiya Umma El-Rufai.

“May God continue to comfort the family and all who mourn her. And may Allah grant her Aljannah Firdaus. Amin.”

Prominent Nigerians, including President Bola Tinubu, had earlier paid tributes to the deceased.

Tinubu, in a statement signed by his spokesman, Bayo Onanuga, commiserated with El-Rufai, urging him to find the strength to move on in the absence of his beloved mother.

“Nasir, please accept my heartfelt condolences on the passing of your beloved mother, Hajiya Umma, which happened today (Friday) in Cairo. As someone who had also lost an old mother, I share in your grief,” Onanuga wrote on behalf of President Tinubu.

Sani also earlier extended condolences on behalf of the Kaduna State Government and its people, describing the late Hajiya Umma as “a devoted mother and matriarch, a woman of rare grace, moral clarity, and quiet strength,” who embodied faith, patience, generosity, and community reconciliation.

“On behalf of the government and people of Kaduna State, I extend my deepest condolences to His Excellency, Mallam Nasir El-Rufai, and the entire El-Rufai family on the passing of their beloved mother, Hajiya Umma El-Rufai,” Sani said.

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The National Chairman of the APC, Prof Nentawe Yilwatda, visited El-Rufai and his family, urging them to put their faith in God at all times.

He posted, “I visited the home of Mallam Nasir El-Rufai to commiserate with him and the entire family on the painful loss of his beloved mother, Hajiya Umma El-Rufai, who passed away yesterday (Friday).

“The death of a mother is a deeply personal and irreplaceable loss. It is a moment of profound grief not only for the immediate family, but also for all who understand the priceless role of a mother in the life of her children and family.

“Mama lived a fulfilled life and, by the grace of God, leaves behind a legacy through her children, family and all those whose lives she touched.

“At this difficult time, I pray that Almighty Allah forgives her shortcomings, grants her Aljannatul Firdaus, and comforts Mallam Nasir El-Rufai, the entire El-Rufai family, and all loved ones she left behind. May Allah grant the family the strength, patience and fortitude to bear this painful loss,” the APC Chairman wrote.

Also, the immediate past governor of Ekiti State and former Chairman of the Nigerian Governors’ Forum, Dr Kayode Fayemi, expressed deep sorrow over the passing of Hajiya Umma.

In a statement issued on Sunday by the Fayemi Media Office, the ex-governor described her death as a profound loss, not only to the El-Rufai family but also to all who were touched by her life of humility, faith, and service.

He noted that the late Hajiya Umma lived a life defined by strong moral values, devotion to family, and commitment to community—qualities he said are reflected in her son’s life and public service.

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“I received with deep sadness the news of the passing of Hajiya Umma El-Rufai. Her departure is a painful loss, but we take solace in the exemplary life she lived and the legacy she leaves behind,” Fayemi said.

The death came at a time when El-Rufai was in the custody of the Independent Corrupt Practices and Other Related Offences Commission following his arrest over allegations of corruption and money laundering.

He was arraigned before a Federal High Court in Kaduna on March 24 on a 10-count charge, with the case adjourned until March 31, 2026, for hearing of pending applications, including his bail request.

He was released temporarily from the ICPC custody, reportedly to witness the burial rites of his mother.

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Veteran Filmmaker, Wale Adenuga Reveals Why He Sacked And Recalled Papa Ajasco

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According to Adenuga, the actor was initially removed from the role due to serious misconduct, including attempts to claim ownership of the Papa Ajasco brand.

Veteran filmmaker Wale Adenuga has revealed the reasons behind the removal and subsequent return of Abiodun Ayoyinka in his role as Papa Ajasco.

According to Adenuga, the actor was initially removed from the role due to serious misconduct, including attempts to claim ownership of the Papa Ajasco brand.

The conflict reportedly began when Ayoyinka organised a tour using the Papa Ajasco name without informing the production team.

The situation escalated after the Nigerian Copyright Commission discovered that he had tried to register the brand under his name, even though the producers already held the legal rights.

Adenuga, in an interview with Punch, described this act as a betrayal that led to the actor’s dismissal.

Despite the controversy, Ayoyinka was later brought back to the role, a decision Adenuga said was based on practicality and the actor’s talent rather than personal feelings.

He noted that while talented actors can be challenging, their skills sometimes make them indispensable.

The producer also discussed changes in the entertainment industry, mentioning that his productions have adapted to digital platforms.

Shows like Akpan and Oduma are now distributed mainly on YouTube, while WAPTV maintains an online presence and mobile app to reach audiences.

On the topic of royalties and actor welfare, Adenuga said the current system needs reform and that responsibility should not rest solely on producers.

He suggested that a well-structured industry could ensure fair compensation and long-term support for actors, reducing the burden on individual production teams.

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He said, “That level of betrayal led to his dismissal. I understand the psychology of actors. Sometimes the most talented can also be the most difficult. As a producer, you sometimes have to choose between talent and temperament. Despite everything, I would still work with him because he is a good actor. Our content is now on social media.

“Some productions like Akpan and Oduma are distributed primarily on YouTube, while WAPTV also has an online presence and app. I agree that actors should benefit more in a structured system. It is not the sole responsibility of producers to manage long-term welfare. A proper industry structure would ensure that everyone is taken care of.”

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