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PHOTOS: HOW NIGERIA WAS SOLD TO THE BRITISH FOR £865,000 IN 1899

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This is not just the story of colonial conquest. It is the story of the first OIL WAR, a war not fought over petroleum, but over palm oil, in the territories that would later become Nigeria.

Before the first drop of crude was ever drilled in Oloibiri, there was already a fierce battle for control over a different kind of oil: the red gold of the tropics.

In the 19th century, as the Industrial Revolution thundered across Britain and Europe, the demand for lubricants to keep machines running was insatiable. And at the heart of that demand was palm oil, a sticky red substance extracted from the fruit of a native African tree. This oil was used to grease machines, produce candles, soaps, etc.

The Niger Delta, then part of the region Europeans called the “Oil Rivers,” was the world’s richest source of this commodity. For centuries, the same Delta had served as a major slave-exporting hub, but by the 1870s, as abolition gained ground, slaves were replaced by palm oil as the primary export. The coast once known for bondage was now valued for commerce. African traders, many of them former slaves or descendants of returnees, became immensely wealthy. One of the most famous among them was King Jaja of Opobo, a self-made merchant-king who built a thriving trade empire on the strength of palm oil and personal diplomacy. These African merchants understood global trade and negotiated directly with European companies.

But African prosperity was never allowed to grow unchecked for long. By the late 1800s, European commercial rivalry was boiling over into political intrigue. British, French, and German merchants vied for dominance in the West African market. In 1879, a Cornishman named George Taubman Goldie began consolidating several British trading firms into a single entity. He formed the United African Company (UAC). With this company, Goldie initially envisioned dominating the palm oil trade on the Niger River. After that, he envisioned something more than trade, he wanted sovereignty.

Through aggressive expansion, Goldie’s company secured treaties with local chiefs along the Niger and Benue Rivers, gaining de facto control of vast inland territories. By 1884, Goldie’s company operated about 30 trading posts and used its economic leverage to argue at the Berlin Conference (the infamous 1884–85 summit where European powers divided Africa among themselves) that Britain should be awarded exclusive rights to the Niger Basin.

The British won the argument. The next year, in 1886, Goldie’s company received a Royal Charter from the British Crown, becoming the Royal Niger Company (RNC), a private corporation with governmental powers, similar to the old British East India Company. It could make treaties, raise its own military force, collect taxes, administer justice, and govern the vast areas along the Niger and Benue Rivers.

In effect, Nigeria was not yet a British colony, it was a private corporate colony ruled by a for-profit company headquartered in London.

To the local chiefs, the new company agents spoke of free trade and mutual prosperity. But behind these assurances were binding English contracts designed to establish monopolies, giving the company exclusive trading rights and ceding sovereignty to the British Crown. This meant the chiefs could only sell palm oil to the Royal Niger Company. Any attempt to export independently was treated as economic rebellion. Many chiefs, including King Jaja of Opobo, resisted.

King Jaja of Opobo was one such rebel. Despite his previous cooperation with the British, he refused to be dictated to. When he began exporting palm oil directly to Liverpool merchants, he was arrested in 1887, exiled to the West Indies, and never saw his kingdom again. He died in 1891 on his way home, allegedly poisoned with a cup of tea.

By the 1890s, resistance was rising. In the kingdom of Nembe, in today’s Bayelsa State, a new monarch, King Koko Mingi VIII, ascended the throne in 1889. Koko was an educated Christian convert and former schoolteacher. But he soon found himself at odds with the Royal Niger Company’s chokehold on trade. Like Jaja before him, he tried to bypass the company’s monopoly by seeking commercial ties with the Germans in Kamerun. But the company retaliated by blockading his kingdom from its traditional markets.

Tired of negotiations and betrayal, King Koko struck back. On 29 January 1895, before dawn, he led over 1,000 warriors in a surprise attack on the Royal Niger Company’s heavily guarded headquarters at Akassa. In what became known as the Brass Raid, Koko’s forces captured the station, seized arms and ammunition, including a Maxim machine gun, and took 60 European hostages. Koko demanded that the British lift their monopoly and allow Nembe to trade freely.

The British government refused to negotiate. In response, King Koko executed about forty of the hostages, an act the British termed cannibalism, a fabrication meant to justify vengeance.

On 20 February 1895, the Royal Navy retaliated under Admiral Frederick Bedford, launching a brutal punitive expedition. They bombarded Nembe town (Brass) and burned it to the ground. Hundreds were killed. Survivors suffered famine and diseases such as smallpox.

King Koko went into hiding. The town of Brass was fined £500, a fortune at the time, and forced to surrender weapons and surviving hostages.

In 1898, King Koko, declared an outlaw and unable to rally sufficient support for further resistance, died by suicide in exile. Around the same time, Oba Ovonramwen of Benin was also deposed following the Benin Punitive Expedition in 1897, signalling the final collapse of powerful indigenous resistance in southern Nigeria.

Back in London, the public outcry over the Brass Massacre and the RNC’s excesses led to parliamentary pressure. The British Parliament opened an inquiry, but rather than punish the Royal Niger Company, the Crown did something far more significant, it decided that a private corporation could no longer be trusted with the government of a people.

In 1899, the British revoked the Royal Charter of the Royal Niger Company. But it did not come for free.
The British bought out the company’s rights, territories, and infrastructure for the sum of £865,000, the equivalent of £108 million today. That was the price Britain paid to acquire the territory that would become Nigeria.

It was not a conquest in the conventional sense, it was a transaction. Nigeria was, quite literally, sold.
And who sold it?

The man at the centre of the deal was Sir George Taubman Goldie, the imperialist who had envisioned and built the corporate company that took over Nigeria’s territories. In many ways, he was Nigeria’s unofficial founder, though he never ruled the colony formally. He sold Nigeria to the British Crown in 1899 for £865,000, and for his services to empire, he was later knighted.

On 1 January 1900, the Southern and Northern Protectorates were formally declared under British rule.
The company was gone. But its legacy of economic exploitation, monopolistic control, and indirect rule would persist.

The company itself didn’t die. It rebranded and evolved. The Royal Niger Company merged into what we know today as Unilever, a multinational that still trades in Africa.

This is not just a footnote in colonial history. It is the story of how an entire country people, kingdoms, resources, rivers, was commodified, negotiated, and sold. It reminds us that empire was not only built with gunboats, but also with contracts, shares, and profits.

Nigeria, long before independence, had already been bought and sold.

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Jadesola Olayinka Akande (CON, OFR) (15 November 1940 – 29 April 2008)

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Jadesola Olayinka Akande (CON, OFR) (15 November 1940 – 29 April 2008) was a Nigerian lawyer, academic and author, widely regarded as Nigeria’s first female professor of law.

She was born in Ibadan, Oyo State (then in the Western Region). Her early schooling was at Ibadan People’s Girls School and St. Anne’s School, Ibadan. She later went to Barnstaple Girls Grammar School in Devon, England, where she completed her G.C.E Advanced Level, before studying law at University College London, graduating in 1963.

She was called to the bar at the Inner Temple, London, and completed training at the Nigerian Law School. She returned to Nigeria (circa 1965), and worked in the West Regional Civil Service as an Administrative Officer for a time before transitioning fully into academia and legal practice.

She joined the University of Lagos as a lecturer, earning her LLM and PhD along the way. In 1989, she was appointed the second Vice-Chancellor of Lagos State University, serving until 1993, at which point she stepped down from her academic post. In 2000, she was named Pro-Chancellor of the Federal University of Technology, Akure, a role she held until 2004.

She was a member of the 1987 Constitutional Review Committee and also served on the Presidential Panel on National Security in 2000. In 1984, she established a Family Law Centre to provide legal aid for the underprivileged—a demonstration of her interest in women’s rights and social justice.

Today, she is remembered for her pioneering role in legal scholarship and advocacy in Nigeria.

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Alhaja Batile Alake: Pioneer of Waka Music in Nigeria

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Alhaja Batile Alake stands as a trailblazer in Nigerian music history, remembered for her pioneering role in transforming Waka into a celebrated and enduring genre. Through her groundbreaking career, she elevated a traditional Yoruba chant into a form of popular expression that influenced generations of musicians and reshaped Nigeria’s cultural soundscape.

A Pioneering Career

In the 1950s, Batile Alake made history as the first professional Waka singer to record an album. This achievement not only marked the formal recognition of Waka as a genre but also cemented her place as one of Nigeria’s foremost female musical innovators. Waka, which originated from the Yoruba rárà chant performed mainly by women at communal gatherings, was traditionally associated with praise singing and devotional expression. Alake’s decision to take the form into professional recording transformed it from a localised tradition into a commercially viable art form.

Her music was deeply rooted in Yoruba cultural heritage yet carried the influence of her Islamic faith. This combination gave Waka a unique identity distinct from other Nigerian musical genres of the time. Her pioneering step provided a platform for women’s voices in Nigeria’s male-dominated music industry, allowing Waka to gain both recognition and respect.

Musical Style and Performance

Batile Alake’s songs were distinguished by their strong percussive foundations and the use of call-and-response vocals, a hallmark of Yoruba music. She infused her performances with improvisation, which kept her work dynamic and engaging, whether on record or in live settings. Her lyrics often wove together religious themes with social commentary, creating a repertoire that resonated with audiences across social and cultural divides.

At weddings, naming ceremonies, and religious events, her music became a central feature of Yoruba social life. Women, in particular, embraced Waka as a form of collective identity, empowerment and celebration. Through her artistry, Batile Alake gave Waka a relevance that bridged both sacred and secular settings.

Cultural Legacy

Alhaja Batile Alake’s legacy is most powerfully seen in the generations of Waka performers who followed her path. Among the most prominent was Salawa Abeni, who would later be crowned the “Waka Queen.” Alake’s pioneering career opened doors for women to rise as professional musicians in Nigeria, at a time when cultural and industry barriers were formidable.

By elevating Waka from its traditional margins into mainstream Nigerian music, she ensured that Yoruba women’s artistic voices were preserved, celebrated and modernised. Her work also demonstrated how indigenous traditions could be adapted into modern forms without losing their cultural essence.

Passing and Remembrance

Alhaja Batile Alake passed away in 2013 at the age of 78 in her hometown of Ijebu-Igbo, Ogun State. Her death marked the end of a remarkable era but also solidified her reputation as one of Nigeria’s greatest female music pioneers. Tributes poured in from cultural leaders, musicians, and admirers who recognised her invaluable role in shaping indigenous Nigerian music.

Today, she is remembered not only as a musician but also as a cultural custodian who gave legitimacy and visibility to an art form that might otherwise have remained confined to community gatherings. Her name continues to inspire new generations of Nigerian artists exploring traditional genres in contemporary contexts.

Sources

Vanguard News, “Waka Music Legend, Batile Alake, Dies at 78,” 10 October 2013
The Guardian Nigeria, “Alhaja Batile Alake: The Woman Who Paved the Way for Waka,” 2013
AllAfrica, “Nigeria: Remembering Batile Alake, Pioneer of Waka Music,” 2013

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Remi Lagos: The Legacy of a Nigerian Fashion Icon

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Oluremi Dorcas Osholake, widely known by her brand name Remi Lagos, was one of Nigeria’s most celebrated fashion designers. She left an indelible mark on the Nigerian and African fashion landscape through her elegant, timeless creations, particularly her signature kaftans, which became synonymous with style among Nigeria’s social elite and high-profile women.

Early Life and Education

Born in 1961, Remi Lagos developed a passion for fashion early in life. She pursued textile design in London, equipping herself with the skills that would later distinguish her as a creative force in the fashion industry.

Career and Fashion Journey

Remi Lagos launched her career with a label first known as Freaky Designs, before rebranding to Remi Lagos, a name that would grow into one of the most recognizable in Nigerian fashion. Her designs, which often blended traditional African aesthetics with modern elegance, were celebrated for their sophistication and accessibility.

The designer became especially famous for her kaftans, which were embraced by Nigerian women for their stylish versatility. Her creations appealed to both everyday wearers and celebrities, establishing her as a household name in fashion circles.

International Recognition

Beyond Nigeria, Remi Lagos brought Nigerian fashion to the global stage. She showcased her collections at prestigious fashion events in Johannesburg, Accra, and London, earning international acclaim and positioning Nigerian design within the global fashion conversation.

Death and Legacy

In November 2012, Remi Lagos passed away at the age of 51 after a battle with cancer. Her death was mourned across Nigeria and the African fashion community, as tributes poured in recognizing her contributions to elevating Nigerian fashion.

Her work continues to influence new generations of Nigerian designers, while her kaftans remain a timeless symbol of elegance.

Sources

Vanguard Nigeria. (2012). Fashion Designer Remi Lagos is Dead. Retrieved from Vanguardngr.com

Premium Times Nigeria. (2012). Nigerian fashion designer Remi Lagos dies at 51. Retrieved from Premiumtimesng.com

BellaNaija. (2012). Remi Lagos – A Tribute to a Fashion Icon. Retrieved from Bellanaija.com

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