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PHOTOS: The Soldier Idumota Cenotaph — Nigeria’s Monument to the Unknown and the Forgotten

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Perched in many Nigerians’ memory as a solemn reminder of service and sacrifice, the Soldier Idumota Cenotaph (often referred to in public conversation as the “Tomb of the Unknown Soldier”) commemorates the thousands of West Africans who served — and died — in the two world wars. Erected in the colonial era to mark Nigerian contributions to Britain’s war efforts, the cenotaph has also come to symbolise a wider national duty to remember those whose names and graves were lost to distant battlefields.

A colonial-era memorial with local meaning

The memorial was commissioned after the Second World War as part of a broader imperial practice of erecting cenotaphs to honour soldiers who fell in the Great War and World War II. For Nigerians it had the added importance of publicly acknowledging African manpower and sacrifice at a time when such contributions were too often marginalised in metropolitan histories.

Form and symbolism

The monument pairs two figures in bronze: a soldier and a carrier. These figures are usually described in contemporary accounts as representing the combatant troops of the Nigeria Regiment and the men of the Nigeria Carrier Corps — the latter being the porters and logistical personnel whose work was essential to Allied campaigns in Africa and elsewhere. The juxtaposition of the armed combatant and the carrier emphasizes that victory in large-scale wars depended not only on front-line infantry but also on the largely uncelebrated labour of carriers, orderlies and support staff.

Because many surviving descriptions in public sources are descriptive rather than archival, it is safest to describe the figures by role (soldier; carrier) rather than assign specific ethnic labels to them unless a primary source confirms such identification.

Sites and movement: from Idumota to national remembrance

Originally installed in Idumota, a busy commercial district on Lagos Island, the memorial served for years as a focal point for Remembrance Day ceremonies and local acts of commemoration. As Nigeria’s political geography and national institutions evolved after independence, the cenotaph’s place of honour also shifted. Public accounts indicate that the monument was moved to Tafawa Balewa Square in Lagos for some decades, and that a national cenotaph and war-memorial complex in Abuja later incorporated or replaced the Lagos memorial as the principal federal site for national remembrance.

The exact dates and administrative details of those relocations vary in different accounts: contemporary newspapers, government gazettes and archival records offer the strongest route to precise confirmation. What is clear, however, is the monument’s continuing role: wreath-laying and remembrance ceremonies (notably around Armed Forces Remembrance Day) keep the memorial alive as a site of national memory.

National and historical significance

Beyond its original imperial context, the Soldier Idumota Cenotaph today stands as: a public recognition of West Africans’ wartime service;

a reminder of the logistical and human costs of global conflict; and a meeting point where veterans’ families, service organizations and the state perform rituals of remembrance.

In that sense it functions similarly to “unknown soldier” monuments elsewhere in the world: it is less about a single individual than about collective loss and national responsibility to remember.

Preservation, interpretation and contested histories

Like many colonial-era monuments in postcolonial settings, the cenotaph raises questions about interpretation and stewardship. Whose stories are told at the site? Which archives have been used (or neglected) when the memorial’s history is narrated? How have relocations and restorations changed the public’s access to — and understanding of — the monument?

Answering these questions requires archival work and cross-referencing: colonial government orders, Lagos city planning records, National Commission for Museums and Monuments files, and contemporary press coverage all shed light on the cenotaph’s provenance and movements.

Sources:
Nigerian National War Memorial archives

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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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