In 1906, Obalende became a resettlement site for soldiers and the veterans of the Royal West Force (RWAFF). Hence, the name, Obalende was given by the natives of the land.

The Royal West African Frontier Force (RWAFF) made up of predominantly Hausa men were initially camped on the land where King’s College, Lagos is situated.

Then, a need arose for the use of the land and the Oba of Lagos pressured the Governor of Lagos to resettle the RWAFF men, and sold virgin land in what is now Obalende to the British Colonial Government.

So they were somehow ‘chased’ to a new site at Obalende by the ‘Oba’.

Hence the name Obalende was coined:

The RWAFF men named the place Ibi ti Ọba lé wà dé, which translated from Yoruba means “the place where the king drove us to”.

Photo: Undated image of Adamu Sokoto when he joined the Royal West African Frontier Force.

Image sourced from IWM.

Source Greg Nwoko

On 17 May 1933, Abubakar Olusola Saraki was born in Ilorin, in present-day Kwara State, Nigeria. Though he would later become one of the most influential political figures in Northern Nigeria, his first foray into politics was marked by defeat rather than triumph.

The 1964 Federal Election: A First Attempt

A campaign handbill from the 1964 Nigerian federal elections captures the earliest chapter of Saraki’s political journey. In that election, Dr. Saraki contested for the Ilorin Central constituency seat as an independent candidate aligned with the Northern People’s Congress (NPC), the dominant political party in Northern Nigeria at the time.
Despite his professional reputation as a London-trained medical doctor and a respected figure within the Ilorin community, Saraki was unsuccessful in securing the parliamentary seat. The 1964 elections themselves were fraught with controversy, marred by political tension, boycotts, and widespread allegations of irregularities, reflecting the instability of Nigeria’s First Republic.
Following this electoral setback, Saraki withdrew from active politics and returned to his thriving medical practice in Lagos.

Return to Politics: The Second Republic

Dr. Saraki remained largely outside partisan politics until 1978/79, when Nigeria began its transition from military rule to civilian governance, ushering in the Second Republic. During this period, he joined the National Party of Nigeria (NPN) and successfully won election as a Senator representing Kwara State in 1979.
His political influence grew significantly during the Second Republic (1979–1983), where he emerged as a key power broker in Kwara State politics. Over time, Saraki became widely regarded as the architect of Kwara’s political structure, earning a reputation as a formidable strategist and kingmaker.

Traditional Title and Influence

Beyond elective office, Saraki held the prestigious traditional title of Waziri of the Ilorin Emirate, further cementing his status within both political and traditional institutions. His influence extended across decades, shaping the political direction of Kwara State well beyond his time in office.

Legacy

Although his first political outing in 1964 ended in defeat, that campaign marked the beginning of a long and consequential career. Dr. Olusola Saraki’s trajectory—from an unsuccessful independent candidate to a dominant political figure—illustrates the evolving nature of Nigerian politics from the First Republic through the Second Republic and beyond.
He remains a central figure in discussions of Kwara State’s political history and the foundations of one of Nigeria’s most enduring political families.

Sources

Northern People’s Congress historical records on First Republic elections.

National Party of Nigeria party archives and Second Republic election results (1979).

Profiles and biographical records of Abubakar Olusola Saraki in Nigerian political history publications.

Nigerian Federal Election reports, 1964.

In 1964, Western Nigeria was engulfed in intense political crisis. Chief Obafemi Awolowo, leader of the opposition and a dominant political figure in the Western Region, had been convicted on charges of treasonable felony in 1963 and was serving a prison sentence. His incarceration deepened political divisions within the region.
It was in this atmosphere that legendary dramatist Hubert Ogunde intervened — not with weapons or speeches, but with theatre.

Yoruba Ronu (“Yoruba, Think!”)

In 1964, Ogunde staged the controversial play Yoruba Ronu. The drama was widely interpreted as a sharp critique of the political leadership of the Western Region, particularly targeting Samuel Ladoke Akintola, who was then Premier.
The play addressed themes of betrayal, factionalism, and the dangers of political disunity among the Yoruba. Its message resonated deeply at a time when the region was polarized between Awolowo’s supporters and Akintola’s government.
The response was swift. The government banned Ogunde’s theatre company from performing in the Western Region for two years (1964–1966). Given that the majority of his audience was Yoruba-speaking and based in that region, the ban had severe financial consequences.

Otito Koro (“Truth Is Bitter”)

In reaction to the ban, Ogunde produced another politically charged play, Otito Koro. The title itself suggested defiance. Through allegory and symbolism, Ogunde continued to challenge political authority and defend artistic expression.
His theatre became a forum for political reflection — a rare platform in an era when dissent was increasingly suppressed.

The 1966 Coup and Aftermath

On January 15, 1966, Nigeria experienced its first military coup. Premier Samuel Ladoke Akintola was killed during the coup, and the Western Region government was overthrown. The military takeover dramatically altered Nigeria’s political landscape.
Shortly afterward, the ban on Ogunde’s theatre company was lifted by Francis Adekunle Fajuyi, who had been appointed Military Governor of the Western Region.
Many observers later described Yoruba Ronu as prophetic — a cultural warning about the destructive consequences of political division.

Theatre as Political Resistance

The encounter between Ogunde’s art and Awolowo’s political struggle illustrates a broader truth about Nigerian history: theatre was not merely entertainment. It was activism.
Hubert Ogunde used performance to:

Critique political leadership

Mobilize public consciousness

Preserve Yoruba cultural identity

Challenge censorship

In doing so, he demonstrated that the stage could be as powerful as the parliament.

Historical Significance

The events surrounding Yoruba Ronu highlight:

The deep crisis within the Western Region during the First Republic

The intersection of culture and politics in post-independence Nigeria

The risks faced by artists who challenged authority

Today, Ogunde is remembered not only as a pioneer of Nigerian theatre but also as one of its boldest political voices — a dramatist who dared to tell the truth in turbulent times.

Sources

Ebun Clark, Hubert Ogunde: The Making of Nigerian Theatre (Oxford University Press).

Biodun Jeyifo, The Yoruba Popular Travelling Theatre of Nigeria.

Tekena N. Tamuno, Nigeria Since Independence: The First 25 Years.

Toyin Falola & Matthew Heaton, A History of Nigeria.