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Oleku Ija Ore: Historical Account of the Battle of Ore in the Nigerian Civil War

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The Nigerian Civil War (1967–1970), also called the Biafran War, was one of the bloodiest conflicts in post-colonial Africa. Among its many turning points, the Battle of Ore, remembered in Yoruba memory as “Oleku Ija Ore” (“the fierce battle of Ore”), stands out as a decisive episode that changed the trajectory of the war.

This is the full history of the battle, the Yoruba dimension, and its lasting legacy.

Background: The Road to War

The Nigerian Civil War broke out on July 6, 1967, following deep ethnic, political, and military crises:
The January 1966 coup, led largely by Igbo officers, killed many northern leaders including Prime Minister Abubakar Tafawa Balewa and the Sardauna of Sokoto, Ahmadu Bello.

A counter-coup in July 1966, led by northern officers, brought Lt. Col. Yakubu Gowon to power. This coup also sparked massacres of Igbos in the North, leading to mass migrations eastward.

On May 30, 1967, Col. Chukwuemeka Odumegwu Ojukwu declared the Republic of Biafra, seceding from Nigeria.

War was inevitable. Initially, Biafra had the upper hand due to its motivated troops, sympathetic foreign media, and the daring strategies of Yoruba officer Lt. Col. Victor Banjo, who sided with Ojukwu.

The Midwest Invasion

On August 9, 1967, Biafran forces crossed the Niger River and invaded Nigeria’s Midwestern Region. Commanded by Col. Banjo, the invasion aimed to achieve three key goals:

1. Capture Lagos, Nigeria’s capital, to force Gowon’s government into collapse.

2. Gain Yoruba support, using Banjo’s ethnicity as leverage.

3. Expand Biafran control westward, securing international recognition.

Within days, towns such as Asaba, Agbor, Benin, and even Ore fell under Biafran occupation. The invasion shocked the Nigerian government, which had believed the war would be quickly contained in the East.

The Advance to Ore

By mid-August, Banjo’s troops had advanced to Ore in Ondo State, only about 130 miles from Lagos. The road to the capital was wide open, and panic gripped the Nigerian government.

Gowon called emergency meetings in Lagos.

Yoruba leaders were divided: should they support Banjo (a Yoruba fighting for Biafra) or stand with the federal government?

In the barracks, confusion reigned. The West had very few soldiers, and many Yoruba officers were unsure of their allegiance.

Only a small Nigerian platoon of 32 soldiers from the 11th Battalion, led by Lt. Raphael Iluyomade, held their ground at Ore. Their resistance, though modest, gave the Nigerian command precious time to regroup.

Banjo’s Hesitation

This was the critical moment. If Banjo had pressed forward to capture Lagos, history might have been rewritten. But instead, he hesitated.

Several reasons explain this delay:

Yoruba leaders reminded him of Afonja of Ilorin, a Yoruba warlord who invited Fulani allies in the 19th century but later lost Ilorin to them. Banjo was warned not to betray his people by handing Yorubaland to Biafra.

Banjo reportedly entered secret negotiations with Nigerian General Murtala Mohammed, perhaps seeking a peaceful Yoruba-led solution.

Biafran leader Ojukwu grew suspicious of Banjo’s loyalty and ordered him to halt at Ore.

This hesitation proved fatal. Time allowed Nigeria to rally its forces and counterattack.

The Battle of Ore (August 14 – September 17, 1967)

The Nigerian Army, under General Murtala Mohammed, launched a counteroffensive at Ore. Fierce fighting ensued. Though poorly equipped at first, Nigerian forces gradually gained the upper hand with reinforcements from the North and Midwest.

Banjo’s troops, low on supplies, became overstretched.

Local Yoruba support for Biafra was lukewarm at best. Most saw the Biafran invasion as foreign occupation.

Nigerian propaganda painted the invasion as an “Igbo attempt to conquer the West.”
By early September, the tide had turned. Nigerian troops pushed Biafra back from Ore to Benin City. On September 19, 1967, Benin fell.

The Fall of Victor Banjo

Back in Enugu, Ojukwu accused Banjo of betrayal. Along with three others (Philip Alale, Sam Agbam, and Emmanuel Ifeajuna), Banjo was tried by a Biafran military tribunal for allegedly plotting to negotiate with Nigeria behind Ojukwu’s back.

They were executed by firing squad in September 1967. Banjo’s death marked the end of Yoruba leadership in Biafra’s military campaign.

Significance of the Battle of Ore

The Battle of Ore was one of the war’s most decisive turning points:

1. Stopped Biafra’s Advance – Had Ore fallen completely and Lagos been captured, Gowon’s government might have collapsed.

2. Secured Yoruba Loyalty – The invasion convinced the West that Biafra could not be trusted, cementing Yoruba alignment with the federal side.

3. Shifted the War’s Momentum – The Nigerian counteroffensive from Ore marked the beginning of federal dominance in the war.

4. Destroyed Midwest Support for Biafra – Many Midwesterners, especially non-Igbos, turned against Biafra after the failed campaign.

Aftermath

Following Ore:

The self-declared Republic of Benin (a Biafran puppet state) lasted only one day before Nigerian forces crushed it.

By October 4, 1967, Nigerian troops captured Enugu, Biafra’s capital.

Over the next two years, Nigeria gradually strangled Biafra militarily and economically.
On January 15, 1970, Biafra surrendered, ending the war.

Legacy of “Oleku Ija Ore”

Today, the phrase “Oleku Ija Ore” remains part of Yoruba historical memory. It symbolizes:
The ferocity of the battle.

The fragile politics of Yoruba identity during the war.

The decisive role the West played in shaping the outcome of the Nigerian Civil War.
The Battle of Ore is remembered not only as a military clash but also as a moment when Yoruba destiny could have swung either way — toward Biafra or toward Nigeria. History chose the latter.

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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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