All roads will converge on the historic Mapo Hall, the venue of the epoch-making coronation of Oba Rashidi Ladoja as the 44th Olubadan of Ibadanland, where the coronation, Ibadan is preparing for a roll call of Nigeria’s crème de la crème. The event is expected to surpass any in Olubadan history, with dignitaries led by President Bola Tinubu, who has confirmed his attendance in honour of his friend.
Also expected are former Vice President Atiku Abubakar, governors, ex-governors, former ministers, traditional rulers, captains of industry, and other prominent personalities.
Governor Seyi Makinde will play host to the distinguished guests at what is already being described as the most glamorous and widely attended Olubadan coronation in history.
The coronation marks a continuation of Ibadan’s centuries-old succession tradition, widely regarded as one of the most orderly and rancour-free systems in Yorubaland.
From Ring Road to Bodija, Mokola to Oja’ba, and the surrounding axis, the city is already agog with cultural displays, drumming, and processions as residents prepare to welcome their new monarch.
Hotels across the metropolis have been fully booked, with visitors trooping in from across Nigeria and beyond.
From Dugbe to Challenge, from Gate to Ojoo, the ancient city has taken on a new look. Colourful posters, banners, and giant billboards bearing the portrait of Oba Ladoja, resplendent in royal regalia, adorn major streets and roundabouts.
Slogans such as “Long Live the Olubadan,” “Ibadan Pride, Yoruba Glory,” and “Oba Ladoja: A King for the People” beam at motorists and pedestrians alike.
The visual flood of banners and billboards adds to the festive atmosphere, turning the city into one grand canvas of celebration. At night, illuminated billboards light up the skyline, giving Ibadan a carnival-like ambience ahead of the historic coronation.
His journey
Every journey to the Olubadan throne begins with becoming a Mogaji — the head of the extended family compound. For Ladoja, this came in the 1980s when he was installed as the Mogaji of the Ladoja family of Arusa Compound, Isale-Osi, Ibadan. Ladoja became Jagun Olubadan on October 1, 1993. He was installed by the famous Olubadan Asanike. After his promotion to Jagun Olubadan, the very first rung on the Egbe Agba line, which marked his formal entry into the chieftaincy hierarchy, it became a gradual but steady climb up the ranks, with each title carrying greater responsibility within Ibadan’s traditional administration. He successfully climbed the 22 steps to reach the Olubadan throne.
For the Otun line from where Ladoja emerged, the movement is from Jagun Olubadan – Ajia – Bada – Aare Onibon – Gbonnka – Aare Egbe Omo-Oota – Lagunna – Aare Ago – Ayingun – Asaju – Ikolaba – Aare Alasa – Agba Akin – Ekefa – Maye – Abese – Ekarun Olubadan – Ekerin Olubadan – Ashipa Olubadan – Osi Olubadan – Otun Olubadan and eventually Olubadan.
In 2022, Ladoja was formally elevated to the position of Otun Olubadan, the second-in-command to the Olubadan and the highest-ranking chief on the Egbe Agba line. He thus became the most senior of the Ibadan civil chiefs, which placed him next in line to become the Olubadan.
He played a key role in nominating the late Oba Lekan Balogun and also presided over the nomination process for the late Oba Owolabi Olakulehin.”
Obstacles cleared
In 2017, when the late Governor Abiola Ajimobi elevated 21 obas in Ibadan, Ladoja stood alone with the then Olubadan of Ibadan, Oba Saliu Adetunji. His belief in the dignity and structure of the Ibadan chieftaincy system made him an outspoken critic of the attempt to tamper with its succession process at the time. He challenged the late governor in court.
When Governor Makinde reinvented the same law and re-crowned the monarchs, Ladoja, now a lone voice, stood away again. For Ladoja, “I only want to adorn one crown and that is the Olubadan crown.” He also said, “My journey on the Olubadan line is not about politics. It is a matter of tradition, identity, and service.”
He maintained that Ibadan’s chieftaincy system must not be politicised or commercialised. “Ibadan does not need multiple kings,” he argued, insisting that the hierarchical order that allows a Mogaji to one day become Olubadan is one of the city’s most democratic and egalitarian legacies.
During the coronation of the late Oba Olakulehin on July 12, 2024, the government issued a gazette introducing a new law that required all Ibadan high chiefs to accept obaship titles before they could be promoted.”
Section 4 of the amendment, titled “New Olubadan Chieftaincy Declaration,” replaced “the most Senior (High) Chief in that line” with “the most Senior Beaded Crown Oba in that line.”
Section 4 of the new law states: “The person who may be proposed as a candidate by the Line whose turn it is to fill a vacancy in the office of the Olubadan shall be the most Senior Beaded Crown Oba in that line.”
Ibadan elders then met with Ladoja and prevailed on him to take the beaded crown. Announcing his readiness to accept the beaded crown at a radio programme in Ibadan in August 2024, Ladoja said various Ibadan indigenes and non-indigenes had pressured him to accept the beaded crown to facilitate his ascension to the throne when the time came. On August 12, 2024, Oba Olakulehin, in his first official duty after his coronation, crowned Ladoja as an Ibadan oba.
• Ladoja’s family house at Isale Osi, Ibadan. Photos: Gabriel Oshokha
Dream come true
For Oba Ladoja, the Arusa I and 44th Olubadan of Ibadanland, today marks the fulfilment of a lifelong dream. It is a day he had long anticipated and spoken into existence many years ago. He never left anyone in doubt that he would one day wear the crown of the Olubadan. He will go down in history as the first Olubadan from his family compound and from the community.
His words and dreams finally come to pass. In August 2024, while presenting himself for the beaded crown, he declared on the radio programme: “By the grace of God, I will become Olubadan. God has been merciful to me. My blood pressure has been stable. Anyone God has destined to become Olubadan will become Olubadan. No matter the obstacles placed in their way. I’m ready to accept Ibadan’s ceremonial beaded crown if it’s the wish of God and the good people of Ibadanland. Only God knows who becomes Olubadan. I know by the special grace of God, I will become Olubadan.” Today, he is the Olubadan of Ibadanland.
Ladoja enjoyed a cordial relationship with past Olubadans, including Oba Lana Odugade, Oba Adetunji, and the immediate-past Olubadan, Oba Olakulehin.
The 41st Olubadan of Ibadanland, Oba Adetunji (Aje Ogunguniso I), once prayed for Ladoja, declaring that he would live to become Olubadan. This prayer came after both men had stood firmly against reforms introduced by the late Governor Abiola Ajimobi, which promoted high chiefs to Obas. While many chiefs supported Ajimobi’s moves, only Oba Adetunji and Ladoja resisted, standing together through the storm. In appreciation of Ladoja’s loyalty, Oba Adetunji blessed him with prayers. For Adetunji, who was the first in his lineage to ascend the throne, he understood the rarity of such privilege. Today, history repeats itself as Ladoja becomes the first from Arusa Compound to mount the throne of the Olubadan of Ibadanland.
This coronation marks a new chapter in Ibadan’s history. Nigeria has produced traditional rulers who were once retired generals, police officers, or accomplished businessmen. Some, including past Olubadans, also served as lawmakers in both the federal and regional legislatures. In the North, Alhaji Mohammed Awwal Ibrahim, Sarkin Zazzau Suleja, was elected governor of Niger State between October 1979 and October 1983 before ascending the throne. In the South-West, the late Oba Adesoji Aderemi, the Ooni of Ife, was the only traditional ruler to have also held a political office, serving as governor of the Western Region by appointment in 1960. Ladoja, however, becomes the first in the South-West to bestride both spheres through electoral politics and monarchy. He governed Oyo State between 2003 and 2007, though his tenure was briefly interrupted by an illegal impeachment overturned by the Supreme Court in December 2006. A decade earlier, in 1993, he had been elected senator under the Social Democratic Party (SDP), representing Ibadan South Senatorial District.”
Loved, popular oba
In history, Oba Ladoja will be remembered as one of the most popular Olubadans, judging by the overwhelming joy and acceptance that greeted his emergence. Across family compounds, streets, and major roads in Ibadan, signposts, flyers, billboards, and banners proclaim congratulations to the 44th Olubadan on his ascension. From Mokola to Mapo, from Bodija to Oke-Ado, the city wears a festive look, as though every household feels personally invested in the coronation. The atmosphere reflects the mood of a people celebrating a king deeply loved and widely admired.
Also, the array of political and traditional leaders who have paid courtesy visits to him since his emergence is a strong testimony to the affection and respect he commands. These visits, coming not only from across Ibadan but also from different parts of Oyo State and beyond, highlight the broad appeal of Oba Ladoja as well as the reverence attached to the Olubadan stool.
The steady stream of governors, lawmakers, eminent traditional rulers, and community leaders underscores that the throne of Ibadan is more than a local institution. Each visit has carried with it gestures of goodwill, messages of solidarity, and a reaffirmation that the Olubadan remains a central figure in both cultural heritage and contemporary governance.
Ladoja follows in the footsteps of some of Ibadan’s most cherished monarchs, including the late Oba Isaac Babalola Akinyele, the late Oba Yesufu Oloyede Asanike, and the late Oba Saliu Adetunji, all of whom are remembered for their bond with the masses.
Oba Ladoja’s popularity is even more compelling. His political journey is etched in the memory of the Ibadan people. His impeachment saga and the fierce battles he fought against former President Olusegun Obasanjo and the late Ibadan political warlord, Chief Lamidi Adedibu, endeared him to ordinary people as a fighter who refused to be cowed.
Civil servants remember him with fondness for paying salaries promptly, while the wider public embraced his humility and simplicity. Unlike many politicians, he shunned pomp, appearing constantly in his trademark Ankara and cap, a reflection of his closeness to the grassroots. To traders in Oje, artisans in Mokola, and market women in Dugbe, Ladoja was one of their own.
His popularity rubbed off on his successors as governor in Oyo State. The late Governor Abiola Ajimobi benefited from Ladoja’s enduring goodwill, while the incumbent Governor Makinde also rode on that same wave of grassroots acceptance to clinch victory in 2019.
The coronation of Oba Ladoja, to the people of Ibadan, is the crowning of a figure who has long commanded their affection and loyalty. For many, the banners and posters across the city are more than decoration; they are living testimonials of love, resilience, and collective memory. They celebrate not just a monarch, but a man who has fought battles, endured trials, and now ascends as custodian of Ibadan’s traditions and symbol of its future.
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.
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)
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)