Culture

Emotional Push for Repatriation of Alaafin Crowns

Published

11 months ago

November 28, 2025

Alaafin crowns repatriation gains momentum as Oyo seeks the return of 16 stolen artefacts taken during the 1895 British invasion

The Alaafin of Oyo, Oba Akeem Owoade, has revealed that sixteen gold-plated beaded crowns stolen from the palace during the British invasion of Oyo in November 1895 remain missing, describing them as priceless cultural, spiritual and historical emblems of Yoruba civilisation.

Also read: Alaafin of Oyo Urges Unity to Revive Yoruba Cultural Heritage

The monarch made the disclosure while receiving the Director-General of the National Commission for Museums and Monuments, Olugbile Holloway, at his Boroboro private residence in Oyo town.

In a statement by the Alaafin’s Director of Media and Publicity, Bode Durojaiye, Holloway pledged that the commission would work tirelessly toward the repatriation of Oyo artefacts, just as it has done for the Benin pieces currently being returned from Europe.

Oba Owoade emphasised the cultural depth and ancestral symbolism of the missing crowns. He said the artefacts were taken during a “dastardly raid” on the palace in 1895, adding that their return was vital for preserving Yoruba heritage and identity.

He described the old Oyo Empire as a political and military powerhouse whose relics documented governance, cultural expression and daily life across centuries.

He noted that many items seized during British punitive expeditions were taken as war trophies, stripping communities of heritage and weakening indigenous continuity.

He added that the Alaafin remains the spiritual custodian of these traditions, and the return of the artefacts would represent a significant step toward cultural renewal and national pride.

Archbishop Emeritus Ayo Ladigbolu also reflected on the 1895 invasion by Captain Robert Bower, known locally as Ogun-Pepe. He said the stolen Oyo artefacts were not merely decorative pieces but living cultural heritage with enduring spiritual value.

He compared them to the Benin Bronzes, noting that such items were central to festivals, rituals and the spiritual well-being of the affected communities.

He warned that removing the objects from their cultural environment robbed them of context, reducing sacred heritage to museum curiosities in Western institutions.

Also read: Alaafin of Oyo Urges Yoruba Unity for Cultural Revival

Officials of the Alaafin’s palace and the National Commission for Museums and Monuments expressed optimism that ongoing efforts would eventually secure the return of the crowns, restoring a crucial part of Yoruba history and identity.

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Culture

OLOJO….Ile Ife’s September Gift To Culture

Published

2 weeks ago

October 5, 2026

Mariam Balogun

By Halima Adaba,

It was a featubal if the people. It was for the anciebt town of Ile Ife, which the Yoruba race refards as the Source.

Also read: Olojo Festival 2026: Ooni Urges Leaders to Prioritise Citizens

And ut was a festivsl for the King, Arole Oduduwa, Oonirisa, Adeyeye Enitan Ogunwusi, Ojaja II.

And so between September 24 and 28th 2026, the annual featuval dazzjed in all its white glory.

Tge Monarch paid the traditional ancestral homage and offered propitiation as part of the sacred rites of the Olojo Festival.
It was a powerful expression of Yoruba heritage, spirituality, and enduring tradition.

Call it a collection of beautiful moments, faces, colours and cultural expressions.

Every frame tells a story.

Every face carries the energy.

Every moment keeps the heritage alive.

Undoubtedly one of the most sacred cultural celebrations in Ilé-Ifẹ̀. It marked a day associated with creation, thanksgiving, ancestral heritage, and the sacred appearance of the Ooni of Ife wearing the revered Aàrẹ crown.

There were also the devotees of the famed god of thunder – Sàngó who were hardly conspicuous at the festival.

Many other traditional groups came out with candor, showing a powerful expression of Yoruba cultural identity, spiritual devotion, and respect for the ancient traditions of Ilé-Ifẹ̀.

Devotees of Sàngó bekieved the ‘appearance’ of the god of thunder on Seotember 26th could be understood as a symbolic meeting of ancestral heritage, spiritual devotion, and the celebration of creation.

It was a moment when the sounds of drums, chants, and traditional praise poetry brought the history of the Yoruba people to life.

Although Olojo is closely associated with Ogun, the god of iron, and the sacred traditions of Ile-Ife, the presence of Sàngó devotees reflected the rich diversity of Yoruba spiritual heritage.

Also read: Olojo Festival 2026: Ooni Urges Leaders to Prioritise Citizens

As a participant enthused at the festival, “To witness Sàngó Olúkòso emerge on Olojo Festival day is to witness a living expression of history, identity, and ancestral pride.”

Culture

WAKE UP! Art Exhibition Returns for a Second Act

Published

2 months ago

August 27, 2026

Mariam Balogun

The contemporary art and photography exhibition “Wake Up!” is back again for a second edition.

Curated by Awele Onwordi, Wake Up! 2 exhibition pays homage to the Nigerian youth and burgeoning street culture which many of its contributing artists reference in their works.

Also read: Five rising stars battle for 2026 Headies Next Rated

Titled “Young, Wild, Free”, the exhibition celebrates the creativity, resilience, freedom and cultural influence found in Nigerian youth.

Taking aim at societal issues and economic concerns, the exhibit reflects the youth and their refusal to compromise or bow despite all the challenges stacked against them while charting youth culture through art, music, fashion, skateboarding, photography and community.

The exhibition will be held, once again, at the Angel and Muse Gallery at 25 Sumbo Jibowu street off Ribadu Road off Awolowo Road in Ikoyi.

It will open on Saturday 5 September 2026 and will run until 11 September 2026
This second edition which focuses on celebrating, nurturing and exploring artistic practices rooted in youth and street culture will feature works from DENCITY and SUPERGLIDER HOUSE.

Exhibiting artists include Ajilore Kehinde – their work is deeply influenced by Nigerian street culture and works of other artists like Slawn, Peters Ejiro, etc, Chuka Onwordi – graphic designer who embodies themes of death, melancholy and beauty in his works, ZIDYEP – Abuja based creative whose works move between digital and physical spaces through art, graphic design and air brushing , Franklyn Okoye – graphic designer and artist whose works explore themes of identity and hyper-reality, Awele Onwordi – founder & curator of WAKE UP and multidisciplinary artist whose practice spans character art, creative logo design, album covers and more , Oluchi Kogolo – digital illustrator whose work explores street culture, personality and storytelling through a raw and playful visual style and Kozetuo Apeji – multidisciplinary artists who work explores experimental approaches to problem solving through both digital and traditional art forms.

Commenting on the exhibition in her curatorial statement, Awele noted that “despite economic instability, limited opportunities and socio-political challenges, Nigerian youth continue to shape culture through music, fashion, art, skateboarding, raves, photography and community.”

Also read: Five rising stars battle for 2026 Headies Next Rated

Continuing and harping on the raison d’etre of the exhibition she said, “Young, Wild and Free exists to celebrate Nigerian youth while also creating a platform that supports and amplifies them.”