Remembering the Eson N’Erie of Benin Kingdom and her Legacy

Early Life and Background

Oloi Esther Omoyenmwen Erediauwa (née Osunbor) was born in 1940 or 1941 (exact date not widely documented) in the Benin Kingdom, Edo State, Nigeria. Hailing from a distinguished family, she grew up immersed in the cultural and spiritual traditions of the Edo people, preparing her for a life deeply intertwined with the royal institution.

Marriage to Oba Erediauwa

Esther Omoyenmwen married Oba Erediauwa, who would later reign as the Oba of Benin from 1979 to 2016. Upon her marriage, she assumed the prestigious position of Eson N’Erie, traditionally the leader of the royal harem and senior wife of the Oba. In this role, she wielded considerable influence in palace affairs, ceremonial events, and the guidance of junior wives within the royal household.

Role and Influence in the Benin Kingdom

As Eson N’Erie, Oloi Esther Omoyenmwen Erediauwa played a multifaceted role:

Cultural Custodian: She upheld and promoted the rich customs and rituals of the Benin monarchy, particularly those involving women of the palace.

Palace Leadership: She was responsible for mentoring younger wives, managing the royal harem, and participating in key traditional ceremonies.

Public Representation: Her presence at festivals, coronations, and cultural events reflected the dignity and heritage of the Benin royal family.

Her coral bead regalia, traditional attire, and ceremonial accessories, often captured in photographs, remain iconic symbols of her high-ranking status within Edo royalty.

Later Life and Passing

Oloi Esther Omoyenmwen Erediauwa passed away on January 18, 2014, at the age of 73, after a lifetime of service to the palace and the people of the Benin Kingdom. Her death marked the end of an era in the royal harem, and she was mourned extensively both within the palace and among the broader Edo community.

Her legacy lives on through the continuation of royal traditions, the guidance she provided to palace members, and her role in sustaining the cultural heritage of Benin.

Significance and Legacy

She was the first wife and senior wife of Oba Erediauwa, serving as a model of leadership and dignity within the palace.

Her life exemplified the central role of women in maintaining the social, cultural, and ceremonial structures of the Benin monarchy.

The photograph of Oloi Esther Omoyenmwen Erediauwa, taken by Flora Edouwaye S. Kaplan in 2008, captures the richness of Benin royal regalia, reflecting her status and cultural significance.

References

1. Kaplan, Flora Edouwaye S. Benin Studies: Royal Family and Court Culture. 2008.

2. Nigerian Traditional Rulers Archive – Benin Kingdom Royal Families and Titles.

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Remembering the life and legacy of Francis Adetunji Oladele, the New York-trained filmmaker and cultural innovator behind Kongi’s Harvest and the birth of Nigerian film.

The Man Who Laid the Foundation for Nigerian Cinema

The image captures Francis Oladele, the pioneering Nigerian film producer, alongside Jamaican reggae legend Jimmy Cliff, taken around 1974 in either Lagos or Ibadan. The photo is part of the Logan H. Westbrooks Collection at the Archives of African American Music and Culture (AAAMC).

Francis Adetunji Oladele is widely celebrated as the Father of Nigerian Film. His contribution to the establishment of Nigeria’s film industry was not only groundbreaking but also visionary—bridging literature, theatre, and motion picture at a time when cinema was an emerging art form in Africa.

Early Life and Education

Francis Adetunji Oladele was born in Oyo Town, Oyo State, Nigeria, where he had his early education before pursuing further studies in the United States. His passion for the arts and storytelling led him to train in photography and film production in New York, where he gained exposure to global cinematic standards and techniques.

While abroad, Oladele became inspired by the global wave of Black consciousness and cultural pride that swept through the late 1950s and 1960s, a movement that later influenced the themes and production style of his works back in Nigeria.

The WNTV Years and the Birth of CalPenNy

Upon returning to Nigeria, Oladele joined Western Nigeria Television (WNTV) Ibadan, the first television station in Africa, as a photographer and filmmaker. His creativity and technical mastery soon earned him the position of Head of the Film Unit.

In 1965, driven by the desire to tell authentic African stories with local talent and perspective, he resigned from WNTV to establish CalPenNy Nigeria Limited, Nigeria’s first indigenous film production company. The name “CalPenNy” was coined from the combination of California, Pennsylvania, and Nigeria—reflecting Oladele’s international exposure and African identity.

This bold move marked a turning point in Nigeria’s cinematic journey, transitioning from television documentaries and colonial-era newsreels to full-fledged film production.

Kongi’s Harvest — The Dawn of a New Era

Francis Oladele’s most significant work came in 1970 with the production of Kongi’s Harvest, an adaptation of Professor Wole Soyinka’s play of the same name. The film was directed by Ossie Davis, the acclaimed African American actor and activist, and close ally of Malcolm X.

Shot on location in Nigeria with a blend of Nigerian and international talent, Kongi’s Harvest symbolised the meeting of African intellectualism and cinematic modernity. It was the first Nigerian feature film, blending politics, art, and national consciousness at the dawn of postcolonial Nigeria.

The film starred prominent Nigerian actors, including Soyinka himself, and was lauded for its artistic depth and cultural relevance. Though made under tight financial conditions, Kongi’s Harvest became a historic milestone, paving the way for future generations of Nigerian filmmakers.

Later Career and Collaborations

After Kongi’s Harvest, Oladele continued to nurture Nigeria’s young film industry. He collaborated with key creatives such as Ola Balogun, who would later become one of the country’s leading directors, producing socially conscious films that reflected everyday Nigerian life.

Oladele’s influence also extended to the cultural and political landscape. Through his works and advocacy, he helped establish filmmaking as a legitimate industry and art form in Nigeria—one that could reflect the nation’s identity and preserve its stories.

Personal Life and Death

Francis Oladele was known not only for his professionalism but also for his humility and deep commitment to the craft. He lived much of his later life in his hometown, Oyo, where he continued to mentor young creatives and engage in cultural discussions.

He passed away on June 22, 2015, at the age of 82, after a battle with prostate cancer, at a hospital in Ibadan, Oyo State. He was laid to rest on July 1, 2015, within his residence in Oyo Town.

His death marked the end of an era but his influence continues to shape Nigeria’s film industry, now globally known as Nollywood—the second-largest film industry in the world.

Legacy and Impact

Francis Oladele’s contributions go far beyond Kongi’s Harvest. He demonstrated that Nigerians could produce world-class films with indigenous stories, languages, and actors. His pioneering vision inspired a generation of filmmakers, including Ola Balogun, Hubert Ogunde, Eddie Ugbomah, and later, the Nollywood era.

As Nigeria’s first true film producer, he laid the groundwork for the country’s cinematic independence—an industry that would later become a cultural powerhouse across Africa and the diaspora.

References

Logan H. Westbrooks Collection, Archives of African American Music and Culture (AAAMC), Indiana University Bloomington.

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A look into the life, legacy, and controversies surrounding Lord Frederick Lugard—the man behind the 1914 Amalgamation of Nigeria.

The Man Behind the Sculpture

The image depicts a bronze bust of Sir Frederick Lugard, a British soldier, explorer, and colonial administrator whose policies profoundly influenced the creation and governance of modern Nigeria. The sculpture, made by Herbert Cawood, an English sculptor and silversmith, immortalises Lugard’s legacy as one of Britain’s most consequential colonial figures.

Born on 22 January 1858 in Madras, India, Lugard served in the British Army before entering colonial administration. He became a central figure in British imperial expansion across Africa during the late 19th and early 20th centuries.

Early Life and Education

Frederick John Dealtry Lugard was born into a British missionary family. His father, Reverend Frederick Lugard, served as a clergyman in the Church of England, while his mother, Emma Lugard, was noted for her strict Christian values. Lugard was educated at Rossall School and later attended the Royal Military College, Sandhurst, where he trained as an officer.

After his military education, Lugard joined the British Army, serving in India and Burma. His early exposure to military discipline and exploration shaped the pragmatic and authoritarian leadership style he would later employ as a colonial administrator.

Journey into Africa

In 1885, Lugard arrived in Africa as part of Britain’s colonial expansion efforts. He served with the British East Africa Company and later the Royal Niger Company, where he played a key role in securing British influence across what is now northern Nigeria.

Lugard’s combination of military precision and political vision made him indispensable to British authorities seeking to consolidate their territories in West Africa. His success in managing local resistance and negotiating treaties with traditional rulers earned him rapid promotions.

Architect of the Amalgamation

By the early 20th century, Britain had divided Nigeria into two administrative regions: the Northern Protectorate and the Southern Protectorate. Lugard first served as the High Commissioner for Northern Nigeria (1900–1906), where he introduced the system of indirect rule—a method that governed through local emirs and chiefs rather than through direct British intervention.

In 1914, as Governor-General of the Colony and Protectorate of Nigeria, Lugard oversaw the Amalgamation of the Northern and Southern Protectorates, uniting them into one political entity under British rule. This act laid the administrative foundation of modern Nigeria.

While the amalgamation was intended to streamline governance and economic management, critics argue that it ignored cultural and ethnic complexities, sowing divisions that continue to influence Nigeria’s political structure today.

Personal Life and Marriage

In 1902, Lugard married Flora Shaw, a British journalist and writer who famously coined the name “Nigeria” from the phrase “Niger area” in an article published in The Times newspaper. Flora was a key intellectual partner in Lugard’s career, supporting his administrative ideals and contributing to the colonial narrative that portrayed British rule as a “civilising mission.”

Legacy and Controversy

Lugard’s legacy remains deeply controversial. On one hand, he is remembered as a capable administrator who created efficient systems of governance, infrastructure, and taxation. His policy of indirect rule became a model for other British colonies, praised for its cost-effectiveness and respect for local institutions.

On the other hand, critics view his rule as a tool of economic exploitation and political subjugation. His belief in racial hierarchy and his writings, especially in The Dual Mandate in British Tropical Africa (1922), reflected colonial paternalism—seeing Africans as subjects to be governed rather than partners in development.

The indirect rule system, though administratively practical, entrenched social divisions and hindered the development of a unified national identity. Its effects can still be traced in Nigeria’s modern political and regional disparities.

Death and Remembrance

Lord Frederick Lugard died on 11 April 1945 in Abinger, Surrey, England, at the age of 87. Despite the polarising views on his governance, his name remains deeply woven into Nigeria’s colonial and postcolonial history. Streets, monuments, and institutions once bore his name, though many have since been renamed as Nigeria reclaims its indigenous identity.

The bronze bust by Herbert Cawood stands as both an artistic and historical artefact—an image of a man whose actions permanently shaped the boundaries, politics, and fate of Africa’s most populous nation.

References

The Dual Mandate in British Tropical Africa by Lord Frederick Lugard (1922)

National Archives, UK – Colonial Office Records on Nigeria (1900–1919)

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