Connect with us

Lifestyle

The Fall of Afonja and the Rise of Fulani Rule in Ilorin

Published

on

Ilorin, a city now known as the capital of Kwara State in Nigeria, has a complex and significant history that reflects the broader political struggles of the 18th and 19th centuries within the Yoruba world and beyond. Once a Yoruba military outpost under the control of the Oyo Empire, Ilorin’s transition into a Fulani emirate marked one of the most defining turning points in Nigerian history. At the center of this transformation was Afonja, the sixth Aare-Ona-Kakanfo of the Oyo Empire.

Afonja and the Yoruba Control of Ilorin

Ilorin was originally established as a frontier military post by the Oyo Empire. Ojo Isekuse, a Yoruba hunter, was the first known settler of the area, but it was later fortified and governed by Afonja, the Aare-Ona-Kakanfo—the military commander-in-chief of the Oyo Empire. Afonja administered Ilorin on behalf of the Alaafin (king) of Oyo, holding substantial military and political influence.

Conflict Between Afonja and Alaafin Aole

The tension that ultimately led to Afonja’s fall began during the reign of Alaafin Aole (c. 1789–1796). Aole gave Afonja several controversial orders, including attacking the town of Iwere-Ile, a place traditionally avoided due to spiritual taboos. Afonja defied these orders and later rejected another command to attack Apomu, a town in Ile-Ife, regarded as sacred. To signal his final break from the authority of the Alaafin, Afonja sent an empty calabash and parrot’s eggs to Aole—a symbol of rejection in Yoruba tradition.

In response, Alaafin Aole reportedly took his own life in a ritual suicide, uttering a powerful curse on the Yoruba people. This event symbolized the collapse of central authority in Oyo and laid the groundwork for the political upheaval that followed.

Alliance with Shehu Alimi and the Sokoto Jihadists

In seeking to protect his position and challenge the weakened Oyo monarchy, Afonja allied himself with Shehu Alimi, an Islamic scholar and Fulani cleric who had arrived in Ilorin with a band of disciples. This alliance, initially strategic, brought Afonja military support from Alimi’s followers and fighters from the wider Sokoto Caliphate, which had been expanding its Islamic influence across northern Nigeria.

With this support, Afonja and his new allies successfully resisted forces loyal to Oyo and eventually led attacks that resulted in the destruction of Oyo-Ile, the capital of the Oyo Empire, around 1817 or 1818. At this point, Ilorin became a powerful military base and began shifting from a Yoruba to a Fulani-controlled polity.

Afonja’s Downfall and Death

However, the partnership between Afonja and Shehu Alimi soon turned into a struggle for control. Afonja, though powerful, remained a traditional Yoruba warlord and resisted conversion to Islam. As Alimi’s followers grew in number and influence, tensions rose. Afonja also attempted to control the growing violence and lawlessness of the slave-soldiers known as the Jamaa—many of whom were loyal to the Fulani clerics.

Around 1824, these tensions reached a breaking point. Abdulsalam, the son of Shehu Alimi, rallied the Jamaa and led a revolt against Afonja. He was assassinated in the streets of Ilorin in a brutal ambush. His body was reportedly mutilated and left impaled with arrows and spears—a grim display of the fate of one of the most feared Yoruba warriors of his time.

Emergence of the Ilorin Emirate

Following Afonja’s death, Abdulsalam declared himself the first Emir of Ilorin, aligning the city politically and religiously with the Sokoto Caliphate. The traditional Yoruba chieftaincy system was abandoned in favor of the emirate model. From that point forward, Ilorin ceased to be ruled by Yoruba kings and was governed by Fulani emirs under Islamic law.

Failed Yoruba Counterattacks

After Afonja’s death, the Yoruba made several attempts to retake Ilorin. His successor, Toyeje of Ogbomoso, led counter-offensives such as the Battle of Ogele in 1825. Despite initial resistance, these campaigns ended in defeat for the Yoruba, largely due to the superior cavalry and support Ilorin received from Sokoto.

These losses marked the definitive end of Oyo’s military dominance in the region and sealed Ilorin’s status as a Fulani emirate. The city remained outside the political and cultural control of the Yoruba, despite being geographically located within Yorubaland—a reality that remains significant to this day.

The fall of Afonja is more than a personal tragedy; it is a symbol of the dramatic political realignments that occurred in 19th-century West Africa. Afonja’s attempt to assert Yoruba independence from the crumbling Oyo Empire inadvertently opened the door for Fulani dominance. His death not only marked the end of Yoruba rule in Ilorin but also the rise of Islamic emirate structures in a region that had once been firmly under traditional Yoruba authority.

The story of Afonja is a crucial part of Nigeria’s historical tapestry, offering insights into the dynamics of power, alliance, betrayal, and the long-lasting effects of colonial and pre-colonial politics in shaping modern identities and boundaries.

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

Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

Published

on

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.

punch.ng

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading

Lifestyle

Lara George: Nigerian Gospel Icon with a Global Voice

Published

on

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

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading

Lifestyle

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

Published

on

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)

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Continue Reading

Trending