Before Ogunmola came onto the scene, Hubert Ogunde, with his troupe, the African Music Research Party, later changed to the Ogunde Concert Party in 1950, had already begun making a name for himself by burying his craft in the hearts of many people through his dedication and determination to propagate Yoruba culture through folk opera and drama.

On November 11, 1925, Elijah Kolawole Ogunmola was born into the family of George Ogunmola and Aina Ogunmola in the town of Okemesi-Ekiti. Ogunmola, who was educated, worked as a schoolmaster at Emmanuel Primary School, and some records show that he was also a bandmaster at St. Savior Primary School in Ado-Ekiti, where he led the school band and choir.

While at Emmanuel Primary School, Ogunmola devoted his time to creating school plays performed by pupils within the school and sometimes outside the school premises. With a growing love for the craft, Ogunmola decided in 1948 to form a drama troupe, Ogunmola’s Theatre Party, involving his pupils and fellow teachers, modelled after Ogunde’s Theatre Party.

In the 1950s, Ogunmola’s troupe travelled throughout the western region of Nigeria, performing in schools, churches, and town halls. Although the same plays were often staged, Ogunmola’s productions allowed for improvisational acting on stage, leaving room for the unexpected with each performance. While inspired by Ogunde’s folk opera format, Ogunmola was motivated to refine it. Through his group, he developed Yoruba culture, most importantly folk opera, into a more serious theatre form.

At the time, Ogunmola’s performances were largely staged in the Ekiti region, and he was known as a performer keen on the quality of acting on stage. Most of his early plays were Yoruba folk operas, with drums providing rhythm from the background. He made dancing and the Yoruba language integral parts of his productions.

Read Also: Hubert Ogunde: Doyen of Modern Nigerian Theatre

During his stay in Ekiti, one of his popular plays was Love for Money, the story of a wealthy man who fell for a temptress and, as a result, separated from his wife. However, his relationship with the temptress eventually ruined him.

After several years of acting and the experience he gained from stage performances, Ogunmola relocated from the Ekiti region to Osogbo in the 1950s. While in Osogbo, a German editor and scholar, Ulli Beier, became familiar with Ogunmola’s work. Beier was among the first to recognize that Ogunmola’s productions were more psychologically complex than other folk operas, and he introduced Ogunmola to international critics through his magazine Black Orpheus and the Mbari Club in Ibadan.

Through this relationship, Beier in 1962 lobbied for a Rockefeller Foundation grant, which made Ogunmola the first Artist-in-Residence at the University of Ibadan School of Drama. The grant also provided funds for him to acquire more sophisticated equipment to professionalize his work.

During his period at UI, Ogunmola collaborated with Amos Tutuola and the School of Drama to produce a loose adaptation of The Palm-Wine Drinkard, translated into Yoruba. The production became the university’s flagship cultural export and was also in serious contention with Oba Koso, which eventually became Nigeria’s nominee for the Commonwealth Arts Festival in 1965. In the 1960s, The Palm-Wine Drinkard was honored both in Nigeria and abroad, and Ogunmola’s popularity increased following his six-month residency in Ibadan.

Before his death on January 1, 1973, following a stroke in 1970, Kolawole Ogunmola wrote and produced many plays. These include The Palm-Wine Drinkard (Lanke Omuti), premiered in 1963 and performed at the First Pan-African Cultural Congress in 1969; Ife Owo (Love of Money), first performed around 1950 and published in 1965; Conscience; and Reign of the Mighty. Ogunmola also contributed to early Nigerian television and films such as Asewo To Re Mecca, Ija Ominira, Taiwo Shango, Ijele, and Omo Oloja.

Kolawole Ogunmola’s work, The Palm-Wine Drinkard, received international recognition, representing Nigeria’s excellence at the First Pan-African Cultural Congress in 1969. He was widely regarded by both international and local critics, including Ulli Beier, as the most brilliant actor in Africa during the 1950s and 1960s.

Ogunmola’s legacy lives on, as his dedication and landmark achievements in theatre and film inspired many playwrights, actors, and actresses. Notable among them is his daughter and renowned actress, Peju Ogunmola, who remains active in the theatre world. His son, Yomi Ogunmola, was also a famous Yoruba actor, filmmaker, and director before his death in 2003.

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Some of the names that cannot skip the lips are Hubert Adedeji Ogunde, Kola Ogunmola, Duro Ladipo, Oyin Adejobi, Ola Rotimi, Moses Olaiya, Akin Ogungbe, Enebeli Effiong, Zulu Sofola, James Ene Henshaw, and of course our revered Noble Laureate Wole Soyinka, among others who transitioned from traditional performance to professional, commercial and literary theatre.

Presently referred to as the father of the modern Nigerian theatre, Hubert Adedeji Ogunde was born on July 10, 1916, in Ososa, near Ijebu-Ode, Ogun State, Nigeria to the family of a Baptist shepherd, Jeremiah Deinbo and Eunice Owotusan Ogunde, who was a daughter of an Ifa priest. Ogunde briefly stayed within the compound of his grandfather and was exposed to both the Christian and traditional religion of the Yoruba which influenced his upbringing.

Ogunde attended St John School, Ososa, in 1925–28, and later moved to St Peter’s School, Faaji, Lagos in 1928–30 and also Wasimi African School in 1931–32. It was during his elementary school days he came in contact with performance art where he was a member of Egun Alarinjo. Despite having performing art at heart, Ogunde worked as a pupil-teacher at St. John’s School and was also a church choirmaster and organist.

In March 1941, he joined the Nigerian Police Force in Ibadan and in 1943 was posted to the Denton Police Station, Ebute-Meta, where he joined an African Initiated Church. For his unquenchable love for performing art, Ogunde created an amateur drama group called the African Music Research Party in 1945, the first contemporary professional theatre company in Yorubaland.

Like many of his contemporaries, in 1944 his theatre career began in church where he co-produced The Garden of Eden and The Throne of God with G. B. Kuyinu, his first folk opera commissioned by the Church of the Lord, Aladura, established by Josiah Ositelu. The performance was sanctioned to aid contributions to a church building fund. The Garden of Eden was loved by all and was premiered at the Glover Memorial Hall with the chairman of the ceremony, Dr. Nnamdi Azikiwe, in attendance. The play infused realism and dramatic action in the acting, dancing and singing of the performers, which made it different from the common Native Air Operas known in Yorubaland at the time, an innovation that contributed to its success.

The then Alake of Abeokuta requested Ogunde to perform The Garden of Eden at the Ake Centenary Hall. It was the success of the play that motivated Ogunde to write more operas. Ogunde then distinguished his group by using promotional methods such as advertisements and posters, and by changing the round stage used by alarinjo performers to one with a proscenium.

After he left the Nigerian Police Force, Ogunde focused more on theatre and shifted his focus from religious themes to nationalistic and anti-colonial plays. Ogunde’s use of traditional Yoruba folklore improved through Worse than Crime in 1945, The Black Forest, and Journey to Heaven.

In November 1945, he was motivated by the events of a general strike organized by the labor unions led by Michael Imoudu and within 1946 to 1947, he went on to write and produce more plays like Tiger’s Empire, Devil’s Money, Herbert Macaulay, and Towards Liberty.

Read Also: Ayinla Omowura: An Unreal Apala Talent, Voice

Before 1948, Ogunde, whose plays had been growing in popularity having been staged constantly in Lagos and occasionally in Abeokuta, thought about traveling with his theatre troupe to other cities in Western Nigeria provinces where his plays were inaccessible. By 1948, he went on a tour with his group to Abeokuta, Ibadan, Oyo, Ede, and Ogbomosho. However, he had two major encounters with the police when he took his tour to the north following the political content of Worse than Crime and Tiger’s Empire. His first tour outside Nigeria was not well received by the Ghanaian audience due to the language barrier and his ignorance about the tastes of the people.

Ogunde then wrote his first satire, Human Parasites, around the time he first changed the name of his troupe to Ogunde Theatre Party. From then, his plays were folk operas in which the actors on stage sang their lines with limited dialogue.

In 1947, Ogunde with his wife Adesuwa had become popular to the extent that he traveled to London to seek promotion from theatre agents for his shows in England. The talks were not fruitful, but while in London they had the opportunity to take waltz and tap dance lessons which later helped him beautify his plays by blending the waltz with the traditional Batakoto dance and tap dance with the traditional Epa dance.

Hubert Adedeji Ogunde was the most prominent of the dramatists of the folk opera during his period and still holds the title of the industry doyen for his efforts to take his plays to every part of the country. In 1950, he changed the name of his theatre from Ogunde Theatre Party to Ogunde Concert Party.

The advent of Western Nigeria Television (WNTV) in the 1960s helped Ogunde a lot because it gave him the opportunity to reach a wider audience without traveling. Following this, he produced his plays Ayanmo and Mama Eko for the television audience.

However, in 1964, his two political plays Yoruba Ronu and Otitokoro, especially Yoruba Ronu, which spoke about the political events in Western Nigeria, got him a suspension after it was staged at an Egbe Omo Olofin meeting in the presence of NNDP leaders such as Akintola. During the performance, Akintola and a few others, who considered the play as a direct attack on their role in the Western crisis, walked out of the event. It was then banned in Western Nigeria for two years between 1964 to 1966 but enjoyed success in other countries.

In the late 1970s, Ogunde transitioned to films and co-produced Ajani Ogun with actor Ade Love. His second was Ija Ominira and he then invited Ola Balogun, a film director, to direct an adaptation of one of his stage plays, Aiye, which was premiered in 1979 and within a year made its money back.

His second movie was Jaiyesinmi. Aropin N’Tenia was the third, another adaptation of a stage play premiered in 1964. His fourth film was Ayanmo, originally adapted from a play that had been dedicated to his wife, Adesuwa, who had died previously. At the time, Ogunde provided the funds for the production of all of his movies without exception.

In 1982, he established a film village in his hometown for the shooting of his films. Before his demise, his last two films, Aropin N’tenia and Ayanmo, were shot at the Ogunde film village. It was during the shooting of Mr. Johnson that Ogunde got ill and eventually died on April 4, 1990, at the Cromwell Hospital in London.

During his lifetime, Hubert Ogunde wrote and produced over 60 stage plays and operas throughout his career. He was decorated with many honors including the Member of the Order of the Niger (MON) conferred on him in 1983, Honorary Doctor of Letters (D.Litt) by the University of Ife and the University of Lagos in 1985 and 1986 respectively, Ogun State Excellence Award received in 1987 and 1988 for his outstanding work in drama and film production, BBC Man of the Theatre awarded by the BBC in 1983. He was celebrated as Africa International Music Ambassador, Musical Legend of the Commonwealth, and Music Ambassador Plenipotentiary among many other honors and titles.

Hubert Ogunde was not just a dramatist, playwright and producer; he was also a professional singer, with many of his songs still being studied and speaking to national issues till now.

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Although these two sacred periods are different due to difference in religious beliefs, the period of Lent and Ramadan preach the same message that true sacrifice is not when we do not eat or how little what we place on the table is, but it is about how we live, not just with dignity, but in true compassion towards one another.

In many homes, fasting is the most visible sign of these seasons for both Christians and Muslims. People skip meals or reduce portions, and set aside their comfort as well as their hobbies, for the period.

Fasting is not meant to be punishment, but a means and time to examine our hearts, habits, and relationships. When practiced sincerely, it improves self-control, discipline and awakens empathy for those who live daily with hunger and hardship.

However, the most important lessons of Lent and Ramadan begin when fasting ends. One of the deepest teachings during both seasons is discipline, which is taught by saying no to food for a period. This act of discipline strengthens the determination to say no to excess, to anger, dishonesty, and selfishness.

In everyday life, this discipline shows up when a person chooses to be patient instead of getting angry when others upset us. It can also be in form of honesty over shortcuts at work, or faithfulness over convenience in relationships.

These silent, personal choices are sacrifices that demand more than skipping a meal. These choices to be sacred and disciplined require character.

Read Also: From Worship Halls to Hangouts: How Nigerians Navigate Faith and Leisure

Another lesson is empathy. Hunger softens the heart. It reminds us how fragile comfort can be and how easily dignity can be stripped away by lack. This awareness is meant to move us beyond sympathy into action. True sacrifice is seen when fasting inspires generosity: feeding the hungry, supporting a struggling neighbor, paying attention to the lonely, or advocating for justice where systems have failed. Without compassion, fasting becomes a hollow ritual; with it, fasting becomes a force for social healing.

The most underestimated sacrifice of all is that both seasons encourage prayerfulness, reflection, and study of the Holy Books – the Bible and the Quran. This involves taking out moments from busy schedules and silencing distractions. It also means being fully present with God, as said in Quran 2: 183 that “You who believe, fasting is prescribed for you, as it was prescribed for those before you, so that you may be mindful of God”.

In a world where noise has taken over, choosing to be in seclusion or quietness of heart is an act of resistance. It is a sacrifice that teaches us to listen more carefully to divine guidance, to our conscience, and to one another. The Holy Bible tells us in Matthew 6:16–18 that “Moreover when you fast, be not, as the hypocrites, of a sad countenance: for they disfigure their faces, that they may appear unto men to fast. Verily I say unto you, they have their reward. But you, when you fast, anoint your head, and wash your face; that you appear not unto men to fast, but unto your Father which is in secret: and your Father, which sees in secret, shall reward you openly.” This is to tell us that fasting should be sincere and inward, not for public display.

Also important is the sacrifice of ego. These sacred periods bring humility, which is; acknowledging our flaws, seeking forgiveness, and making amends with people and God. True sacrifice happens when pride is laid down, when we offer apologies without excuses, and when we work towards reconciliation instead of revenge. Such humility strengthens relationships among friends and families, heals friendships, and builds a better community where there is mutual respect and love.

There is also the lesson of consistency. The duration of Lent and Ramadan teaches that spiritual growth is not an interest that should be rushed, but a sustained commitment, as the duration of these periods last for weeks, not days. This applies to everyday life in the sense that good service practiced only when convenient is breakable, real sacrifice is doing the right thing repeatedly, even when there is no applause.

In societies where there are religious, ethnic and economic divisions, these seasons remind us that moral values like selflessness, generosity, patience, and love are not owned by one faith but shared human morals. When Christians and Muslims equally emerge from Lent and Ramadan to being more compassionate, more just, and more attentive to the helpless, then the society in general is strengthened.

Beyond fasting, we should be willing to give up things so that others may live better. Sometimes, it may be food; it may be comfort or pride. And when these sacrifices form how we speak, work, forgive, and care, Lent and Ramadan fulfill their purpose not as ceremonies, but as training grounds for a kinder and faithful way of life, because the true success of both seasons is not by how hungry we were or how many days we fasted for, but by how kinder, fairer, and more selfless we become after the fast is broken.

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In today’s fast-paced world, society has limited general achievements to newborn delivery, graduation, marriage, a new home, recovery from illness, and landing a good job. But, small wins matter. Learning a new skill, completing a habit, or simply having a clearer morning are victories that boost mood, confidence, and overall mental well-being. Acknowledging and celebrating these small achievements can truly transform your day-to-day life.

One of the mistakes many people make is waiting for a big moment before they celebrate anything. People often put achievements on a scale and assume only the loud, visible, and dramatic milestones deserve any form of joy. Some people even need external validation to feel like they are trying or doing well, which makes it harder for them to acknowledge the quiet progress they make on ordinary days.

While our levels of achievement and the way we react to each one is personal, every achievement, no matter how little, deserves recognition and acknowledgment. Celebrating oneself is not bragging, it is emotional self-care. Small actions and tiny wins have a way of improving one’s mood, confidence, and overall well-being in unnoticeable ways.

These milestones naturally attract collective joy, but while they exist, people still tend to overlook many smaller victories that genuinely shape their day. And those ordinary days deserve joy too.

However, a major reason people find it hard to celebrate small wins today is the strong influence of social media and the culture of public validation that comes with it. Social media platforms like Tiktok, Facebook, Instagram, and Linkedin, have helped users magnify their success stories. Almost everybody on these platforms celebrate achievements ranging from promotions, luxury purchases, engagements, travel experiences, and significant life announcements.

These people do not often post about the processes, the sleepless nights, the failures, doubts, and maintaining consistency in positive habits. In light of this, many individuals gradually, knowingly or unknowingly, begin to compare their progress to the online versions of other people’s lives.

Constant exposure to the ‘big wins’ that others narrate on social media, make many people believe that everyone else is achieving bigger, faster, and better things while their own journey feels slow. This comparison quietly rubs people of their happiness, resulting in depression. Instead of acknowledging personal growth, people feel left behind, inadequate, or pressured to achieve something “worthy” to be celebrated in public.

Research by psychologist Teresa Amabile and researcher Steven Kramer, authors of The Progress Principle, reveals that one of the most significant motivators for people is simply making progress in meaningful work. According to their findings, “Of all the things that can boost emotions, motivation, and perceptions during a workday, the single most important is making progress in meaningful work.” This simply means that daily wins are strong drivers of satisfaction and motivation, no matter how small they appear.

According to psychiatrist Judson Brewer, positive reinforcement through small rewards helps strengthen habits because the brain learns to associate effort with satisfaction. The neurological explanation for celebrating little wins states that when people recognize achievements, the brain releases dopamine, a chemical associated with pleasure, learning, and motivation. This highlights that appreciating little progress has an impact on boosting growth and consistency.

Appreciating little wins also strengthens self-worth. It allows individuals to see themselves as their own source of encouragement instead of depending on people’s validations. When an individual boldly says, “I am proud of myself for trying,” they build emotional resilience. They become less shaken by criticism and less dependent on validation.

Practically, celebrating little wins can be as simple as taking a pause to reflect on what went well during the day, tracking achievements, sharing progress with families or a trusted friend, rewarding oneself with rest, or expressing gratitude. These small acknowledgments reinforce the idea that effort matters.

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Contrary to what many of us were taught in social studies back then, polygamy is not limited to a man marrying more than one wife.

Polygamy is a broad term that encompasses polyandry, where a woman marries more than one husband, group marriage, sometimes referred to as ‘conjoint marriage”, in which two or more adults are legally married to one another, forming a single family unit that may include multiple husbands and multiple wives, and polygyny where one man marries more than one wife.

The most common form of polygamy in Nigeria is polygyny, a system where a man marries more than one wife, and that is what this piece will focus on.

Polygyny is common in Nigeria, with about 28 percent of households practising it, ranking the country among the highest in Africa. The practice is particularly common in the northern region, with Kebbi State recording approximately 27.3 percent and Kaduna State close behind at 27.2 percent. Approximately 30 percent – 50 percent of ever-married women in Northern Nigeria are in polygynous unions.

As was practised in ancient times, polygyny was based on cooperation, and shared responsibilities as everyone was living happily under the same roof.

In the days of our forefathers, polygyny was more than a tolerated practice, it was a well-defined social institution, that followed a clear structure, guided by established roles and expectations that most people understood and embraced.

During that era, a man’s wealth was often measured not just by his land and livestock, but also by the size of his family.

Then, wives understood their roles, boundaries were set, and seniority was upheld. A first wife was not just a mother to all, but more of a stabilizing force in the family; if she was emotionally intelligent enough, she was even the one to choose the next wife. Though rivalry existed, but it rarely spiraled into dysfunction.

Their coexistence was often built on necessity, communal living, and shared burdens, where having more hands meant greater wealth and survival.

From a religious point of view, Islam also supports marrying more than one wife, subject to certain conditions of fairness and equity that it clearly prescribes.

“If you fear you might fail to give orphan women their ˹due˺ rights ˹if you were to marry them˺, then marry other women of your choice—two, three, or four. But if you are afraid you will fail to maintain justice, then ˹content yourselves with˺ one or those ˹bondwomen˺ in your possession. This way you are less likely to commit injustice.” (Q4:3).

While secular law adheres to monogamy, reality increasingly shifts toward multiplicity. A popular school of thought, although not backed by any data, believes that females outnumber males on Earth, and polygyny should thus be embraced to reduce the population of unmarried women. While this argument is appealing, it may fail the test of deeper intellection.

How modern day Polygyny works

Polygyny as is practised today, carries a very different meaning. It is no longer driven by communal necessity as it was in the past, but is often shaped by secrecy, pride, ego, or the search for emotional balance.

In the past, many of our mothers accepted polygyny because they had little choice, today, many modern women resist it because they have alternatives and greater independence.

Our fore-mothers tolerated co-wives because their reality had no room for individualism or escape but modern women, armed with education, financial independence, and feminism, loathe the idea.

A young lady in her late twenties identified simply as Bukola stated that she cannot engage in polygynous relationship because she does not want her spouse to be shared, more so the fear of sexually transmitted disease in the family is also making her dislike polygamy.

What once was an institution of structure has now become a source of rivalry. Another young lady, Boluwatife Ajayi, also kicked against polygyny, adding that she prefers to enjoy her husband all alone. She further stressed that she values her emotional security and wants full attention from her husband.

Today’s polygynous homes are increasingly defined by quiet divides, passive aggression, online cold wars, and unspoken competition that surfaces in indirect social media exchanges. We find echoes of this in silent rooms.

In the old days, co-wives shared a compound, but today, husbands are shared in silence and suspicion. For many women, polygyny portrays unequal power, emotional overload, and unhealthy comparison.

Also the Urban and city lifestyle does not accommodate the communal living model that once made polygyny manageable.

One of my respondents, Sheriff Ajadi, hinted that he did not see anything bad in polygyny, saying wives misbehave when they do not have competitors. He then stated that the fear of loneliness during old age also makes polygyny attractive to him.

Polygyny may have endured through the centuries, but it has not remained the same. What our fore-mothers bore with quiet dignity, many women nowadays confront with silent resentment or decisive departures. The compound that once resonated with shared laughter and communal bonds is now marked by unspoken tensions and unseen heartbreaks.

Polygyny is also seen in some schools of thought as a way to address infidelity, allowing men to marry multiple wives, instead of philandering.

Be it polygyny, polyandry, group marriage or even monogamy, a person’s decision is often shaped by the realities they can see, feel, and experience firsthand.

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At the centre of this triangle lies the growing food crisis. Nigeria is currently experiencing dire food security challenges. Data released by international humanitarian organizations paint a troubling picture. The Food and Agriculture Organization of the United Nations, in its October 2025 Cadre Harmonisé analysis, estimates that 27.2 million people are facing hunger across Nigeria, with a potential rise to 34.7 million during the next lean season (June to August 2026) if serious interventions are not implemented. This condition is steered by insecurity, economic challenges, environmental pressures, and the devastating effect of COVID19.

The negative impact on the vulnerable population, especially children, is even more alarming. Another data published by the Food and Agriculture Organization of the United Nations states that approximately 5.4 million children and nearly 800,000 pregnant and breastfeeding women are at risk of acute malnutrition. Of these, an alarming 1.8 million children could face Severe Acute Malnutrition (SAM), a life-threatening condition that requires critical medical treatment. These figures are beyond numbers; millions of families cannot provide for their families’ basic needs. As it is, hunger not only affects individuals in rural communities but also spans across urban settings due to rising food prices.

When we discuss the humanitarian crisis in Nigeria, we cannot help but mention poverty as its major driver. According to The World Bank, over 129 million Nigerians are currently trapped in poverty, representing a sharp rise from 40.1 per cent in 2018 to 56 per cent in 2024. This report from the World Bank simply means that over half of Nigeria’s population of 230 million is struggling to meet basic needs, such as food, shelter, healthcare, and education. Inflation and very low economic development and opportunities have greatly added to Nigeria’s poverty rates.

In turn, poverty creates conditions that deepen Nigeria’s risk of violence. In communities where there is low economic development and job opportunities, inhabitants are easily prone to violence. Frustration and desperation set in, paving the way for criminal activity, active participation in armed groups, and unrest among the inhabitants. This is not to say that poverty fuels violence; it indirectly opens individuals to seek illegal means of survival when legitimate opportunities are absent.

Conversely, violence strengthens both poverty and hunger, completing the cycle. When insecurity becomes consistent, many regions that survive on farm produce feel the impact more. Farmers are forced to abandon their farmlands because of the incessant killings, kidnappings, and destruction of agricultural produce. As farming activities reduce, income drops drastically, food supply is stifled, and food prices rise in all parts of the country.

One of the consequences of this cycle is displacement, having a lasting effect on Nigerian citizens. Violence has forced millions from their homes to depend solely on governmental and non-governmental aid. According to the International Organization for Migration (IOM), approximately 340 people were displaced in the first half of January 2026 due to fear of attacks and ongoing military operations. Another data published by Vanguard News disclosed that Nigeria currently hosts over 3.5 million forcibly displaced persons, ranking among countries with the largest displaced populations in Africa. Children in displaced communities experience emotional trauma, interrupted education, and poor nutrition.

While the government may claim it has greatly invested in strengthening security operations, social intervention programs, and economic reforms, the persistence of these crises suggests that these efforts are currently insufficient, thus demanding more coordinated strategies. Security interventions may be a step in addressing the crisis, but cannot resolve the underlying economic crisis. Addressing one side of the triangle while neglecting the rest only prolongs the cycle.

Ending our humanitarian crisis calls for more agricultural support programmes, infrastructural development in both rural and urban communities, education, creation of job opportunities, access to loans, and realistic interest rates.

To be realistic, the triangle confronting Nigeria is inevitable; it is simply a consequence of structural weaknesses that have piled up over time. A country where citizens struggle to eat, where citizens struggle with poverty, and where insecurity destroys livelihoods cannot achieve sustainable development and stability.

In the long run, national development, stability, and progress depend solely on breaking this cycle. Making sure that families can afford basic needs in their day-to-day activities, feed their families, and live comfortably, most importantly, live life without fear.  Until hunger is reduced, poverty declines, and violence is tamed, this dangerous triangle will continue to be a national threat.

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Anigilaje, as he was fondly called, did not confine himself because of his inaccessibility to formal education; rather, he adorned himself with a command of Yoruba proverbs and street wisdom to become a powerful social commentator and an idol of Nigeria’s working class.

Waidi Ayinla Yusuf Gbogbolowo, better known as Ayinla Omowura, was born in 1933 into the family of Yusuff Gbogbolowo, a blacksmith, and Wuramotu Morenike, in Abeokuta, Ogun State. Because he could not access formal education, he started working at his father’s smithy but later left to take up several jobs as a driver, butcher, carpenter and motor boy.

While moving through these jobs, Ayinla had music at heart. He went from street to street in Abeokuta with his friends, busking with a rattle and his unique voice. To make the best out of his rare talent, in the early 1950s he chose to serve as an apprentice in a music band called Olalomi, a popular variant of Apala music at the time. During this period, he also worked as a backup singer for established masters.

Read Also: Haruna Ishola: An Enduring Spirit Behind the Birth of Apala Music

In the early 1950s, during his apprenticeship, Ayinla Omowura was discovered by Adewole Alao Oniluola while performing in the Abeokuta area, and he immediately began making impact in the music industry through the Apala genre. According to Oniluola, an established Apala drummer in Abeokuta, he began the search for a vocalist after fans suggested he get one to complement his performances. This search led to the discovery of Omowura, who was then a trainee under the late Apala musician Osho Oba.

After he began working with Oniluola, Ayinla fully transitioned into the Apala genre and, by 1970, signed with EMI Records. This ushered in a decade of massive success, during which each of his 20-plus albums reportedly sold at least 50,000 copies on release day.

Despite being unschooled, Egunmogaji was socially conscious and served as a link between the government and the people, creating awareness and offering explanations of new policies such as the 1973 National Census and the change from the Pound to the Naira currency. Ayinla, never economical with the truth, tongue-lashed women who bleached their skin or were promiscuous, while also singing about the virtues women should possess for a successful family, among other societal issues he addressed in his songs.

However, his fiery temperament also led to feuds with notable contemporaries, including Haruna Ishola, whom he later acknowledged as his superior, as well as a Fuji pioneer Ayinde Barrister, Fatai Olowonyo, Yesufu Olatunji and Dauda Epo Akara.

Tragically, at the peak of his career, Ayinla’s life was cut short. On May 6, 1980, at age 47, he was fatally struck on the head with a beer mug during a barroom fight in Ago-Ika, Abeokuta. His former manager, Fatai Bayewu, was said to have attacked him following a dispute over a motorcycle or possibly an argument involving a woman. The blow resulted in cerebral hemorrhage. Bayewu was later convicted of murder and sentenced to death.

In his lifetime, Ayinla released more than 20 albums, including Vol. 5: National Census 1973, Challenge Cup 1974, Owo Udoji and Late Murtala Mohammed. Popular tracks such as Awa Kis’olodi Won (We are not their enemies), Ebi Ki Pagun (Hunger does not kill a vulture), Nigeria O Le Ku (Nigeria is tough) and Aiye Nyi Po (The world is turning) continue to resonate with listeners.

Today, his lyrics remain subjects of study in Nigerian universities, particularly in the departments of Yoruba, Music and Theatre Arts. Numerous PhD theses have examined his masterful use of oral literature and social commentary, affirming his enduring legacy as one of Apala’s most influential voices.

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This gentle navigation reveals a generation that values connection to God, to community and to the joys of living fully.

Religion remains one of Nigeria’s foundation, with Christianity, Islam, and traditional beliefs influencing not just moral choices, but social habits, celebrations, and even career decisions. For many youths, attending worship services is non-negotiable, but outside these sacred spaces, the modern world, such as cafes, concerts, social media, and weekend gatherings create a different kind of calling. For young people, finding harmony between faith and fun is both an art and a necessity.

For most people, faith is important, but life is meant to be lived. Sometimes people think going out is sinful, while some see it as a chance to recharge and connect with others, trying to make sure it doesn’t clash with spiritual commitments.

Nigerian youth are reshaping what it means to be both devout and socially active, but the path is not without tension. Many young Nigerians face pressure from parents, peers, and religious communities to prioritize one over the other. Social media increases this pressure with images of perfect devotion or weekend excitement creating invisible expectations. Some struggle with guilt or fear judgment when they choose leisure over strict observance, even briefly. Balancing faith and fun requires constant negotiation, self-awareness, and, often, a thick skin.

Despite these challenges, many are finding creative solutions by attending faith-based events that incorporate social elements, such as youth fellowships, community service outings, and music nights at places of worship that allow young people to socialize while staying rooted in spiritual values.

Others adopt personal strategies by scheduling leisure around worship, using weekends for friends and relaxation, and consciously setting boundaries that prevent guilt.

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Leisure is not the enemy of faith, but it is a part of living a balanced, complete life. After working all through the week, there is no harm in going out on a movie night, visiting high-end restaurants, going out to vibe or for games, and many more, while looking all glammed and dressed-up.

Balancing faith and leisure is not only possible, but beneficial because young people who manage to blend spiritual practice with social life often experience better mental health and stronger interpersonal relationships.

Navigating from worship halls to hangouts shows a generation learning to respect tradition while embracing modern life, a generation that refuses to let faith or fun define them in isolation. For many, this balance is a testament to adaptability, creativity, and the enduring human desire to connect, celebrate, and belong.

As Nigeria’s youth continue to navigate this journey, we must understand that spirituality and leisure need not be opposing forces, instead, they can coexist, with each enriching the other, shaping a life that is both meaningful and joyful.

Worship centres must also evolve, and live in the realities of a changing world where the population wants to live fuller lives to the highest extents of their desires. The worship centres who have identified this shift are now evolving into more youth-friendly denominations, taking up more progressive and innovative identities.

For young Nigerians today, the journey from worship halls to hangouts is not an alternative route from devotion, it is a path toward a fuller, richer expression of it.

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For years, education was painted as a sure pathway to a better life. Some parents invested their savings, some others took loans to see their children through school; students endured strikes and unstable academic calendars, and the world celebrated certificates as symbols of success. Indeed it worked, as many graduates excelled on pathways created by education.

Then, a new reality dawned on us. Opportunities dried up, and education alone could no longer guarantee a better life.

Now, after the convocation gowns are folded away, many graduates discover that the labour market is demanding and very indifferent to their years of study. The world they are entering is not waiting for them to figure things out.

For many Nigerians, the realities of the world after convocation parties do not immediately dawn on them as they are still being sustained by the allowance from the Federal Government, through the National Youth Service Corps (NYSC). The reality became worse since the allowance increased from N33,000 to N77,000, with some Corp members getting more allowance from the State Government, depending on the state of placement. NYSC Allowance at par with the minimum wage further removed graduates from the realities awaiting them in the job market.

What then happens after the benefits from the NYSC stops? These young Nigerians realise that the outside world is not rosy, but with a standard of living already higher than what they can sustain after the service year. They start to get salary offers that are not up to what they were got under the NYSC Scheme without doing too much, forcing many to settle for jobs they never imagine they would do.

From Private School jobs to roles closely mimicking modern day slavery, graduates take them all, trying hard to keep body and soul together. At first, taking the decision to take such jobs appear like lack of ambition, but the problem is a bit deeper.

The problem is not only the absence of intelligence or ambition among Nigerian graduates, but also the widening gap between what schools teach and what the real-world demands. Employers increasingly seek practical skills, flexibility, digital competence and problem-solving ability. Unfortunately, many graduates leave school prepared mainly with theoretical knowledge, limited exposure to real work environments, and little guidance on navigating life beyond campus.

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Youth unemployment remains one of Nigeria’s most pressing challenges, and it carries dangerous consequences. An idle and frustrated graduate population fuels social unrest, crime, mental health struggles and a growing sense of hopelessness, as years of education do not translate into opportunity.

Part of the responsibility lies with the education system, which has been slow to evolve. Curricula in many institutions still prioritise repetitive learning over innovation. Industrial training programmes are poorly supervised, underfunded or treated as mere procedures. Career counselling units are often ineffective or completely absent. As a result, students are rarely taught how to write a professional CV, market their skills, start a small business, or adapt to emerging industries.

Government policy also deserves to be looked into. Job creation has not been regular with the growing number of graduates produced each year. Support for entrepreneurship remains inconsistent, while access to startup funding, mentorship and enabling infrastructure is limited. When graduates are encouraged to be self-reliant without access to capital, stable power supply or favourable policies, self-reliance becomes an empty talk.

This is a call for reform and shared responsibility. Preparing graduates for life after school must begin long before graduation day. Educational institutions must take part in practical skills, internships, digital literacy and entrepreneurship into learning not as additions, but as an indispensable part of the system. Industry partnerships should be strengthened so that students gain real-world exposure while still in school.

Government, on its part, must prioritise youth employment as a national emergency. Policies should focus on motivating industries that can engage young talent, supporting small and medium-scale enterprises, and investing in vocational and technical education alongside traditional degrees. A nation cannot succeed when its educated youth are stuck at the doors of adulthood.

Graduates themselves must also adjust their expectations. The era of waiting passively for white-collar jobs has long ended. Flexibility, continuous learning and willingness to start small are now the essential tools for survival. Success after school may not follow a straight path, but resilience, getting the right practical knowledge and skill acquisition can open unexpected doors.

Life after school in Nigeria should not feel like punishment for determination. It should be a stage of growth, contribution and opportunity. But until the education system, government, society as well as the graduates themselves, confront the uncomfortable truth that the world is moving faster than our preparation, graduates will continue to be in situations they were never trained for.

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Born in 1919 in Igbaire, Oke-Sopin, Ijebu-Igbo, in present-day Ogun State, into a musical lineage, Haruna Ishola was introduced to music at an early age by his father, who was also a musician and herbalist. However, before taking music as a career, Ishola started off as a goldsmith and blacksmith and fell in love with musical arts and indigenous knowledge during the metal activities.

His acquired blacksmith skills helped him forge some of his instruments like Agogo and Agidigbo; through this, he was able to control the precise sound and tone of the metal, making sure it met the standards of the traditional Apala rhythm.

Prior to christening the genre Apala in 1947, the music style, which was known by regional names like Oshugbo or Ewele, was peculiar with traditional musical instruments like Agidigbo, Sekere, Agogo, Sakara, Akuba, and other musical elements to underscore its cultural roots.

At age 28, Haruna Ishola, who had grown his love for the Ewele genre, relocated to Osogbo to gather some boys from his local area to form his first-ever music group named Haruna Ishola and His Apala Group. After the establishment of his group in 1948, Haruna Ishola and his newly formed group released a debut album, Orimolusi Adeboye, under the British label His Master’s Voice (HMV). The record, which celebrated the coronation of the Oba of Ijebu-Igbo, was initially a market failure.

As opposed to his compeers in Juju and Highlife music who, at a time, adopted guitars, accordion, brass, and other Western instruments in their genres, Ishola refused the usage of those instruments in his Apala music in order to maintain the cultural richness of the music genre. Without being bothered about how society accepted Highlife music in the 1950s, Ishola doubled down on his traditionalist approach and, by 1955, he was recognized as the leader of a genre that outrightly rejected the idea of adding a Western instrument.

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After experiencing a difficult start to his musical career, his relentlessness and commitment earned him a reputation as the most in-demand entertainer for parties among the wealthy Nigerian elite. In 1955, following the demise of Oba Adegboye in an air accident, a re-recorded version of his 1948 disappointing album was released and set his path to the spotlight.

In 1955, Ishola, who adopted and stuck to a strong traditionalist approach, citing both Yoruba proverbs and Koranic scripture in his songs, became the most popular artist in the genre and one of the most respected praise singers in Nigeria. Before the end of the 1950s, he introduced Sekere into his music and recorded a song in 1960 for Decca Records titled Punctuality is the Soul of Business. In 1962, he recorded his first LP of two sides with five songs on each side.

One of the peculiar styles about his performance was him sitting among his two talking drummers, lamellaphone, shakers, agogo bells, akuba, claves, and a chorus of singers.

In 1969, Ishola, in partnership with I.K. Dairo, started STAR Records Ltd., the first African record label owned by its founders. In 1971, he released his largest selling album to date, Oroki Social Club, on Decca Records, which sold over five million copies.

Baba Ngani Agba, as people also called him, because of his contributions to Nigeria’s cultural, social, and economic awareness, became one of the first Nigerian musicians to tour abroad, performing in Benin, the United Kingdom, Sweden, France, West Germany, and Italy, and was also conferred a Member of the Order of the Niger (M.O.N.) in 1981 by the then President of Nigeria, Shehu Shagari. He was also decorated by the Queen of England during his global tours to countries like the UK, France, and Sweden.

Ishola’s contributions in society as a social commentator and chronicler of historical events did not go unnoticed, with many high-profile figures like Obafemi Awolowo and Sikiru Adetona commissioning him to record albums for their major life events.

His death on November 9, 1983, at age 64, served as a significant loss in the Nigeria music scene and was also detrimental to the popularity of the Apala genre, coupled with the earlier death of his rival, Ayinla Omowura, in 1980; Apala was eventually overshadowed by the rise of Fuji music.

Alhaji Haruna Ishola released not less than 100 albums such as Oroki Social Club (1971), Late Oba Adeboye (1955), Punctuality is the Soul of Business (1960), Ina Ran, Abanije Koni Gbayi, On My Way To London, and Opon Apala Ti Sun, among other lengthy albums designed to be played at parties and social gatherings where his hypnotic rhythms could keep people dancing for hours.

Yet decades later, Haruna Ishola’s spirit endures. Through discipline, cultural pride, and artistic conviction, he not only shaped Apala music but preserved a vital strand of Yoruba identity within Nigeria’s evolving musical landscape.

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