Remembering the faces, voices and legacies that shaped our culture
By Olayinka Akanbi
There are some seasons remembered for success.
A hit film.
A chart-topping song.
A sold-out concert.
And then there are seasons remembered for the people we lost.
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The third quarter of 2026 may not be remembered for the growth of Nollywood, the global rise of Afrobeats, or the expanding recognition of Nigeria’s creative economy.
Instead, it may be remembered as a period when the country paused repeatedly to say goodbye.
The passing of Olu Jacobs reminded the nation of a generation that laid the foundations of modern African cinema.
The death of veteran Yoruba actor Taiwo Hassan (Ogogo) brought grief across the Yoruba film industry and among audiences who had grown up watching him.
At the same time, the industry reflected on the lives and contributions of actress Tope Osoba and several respected figures within the Fuji and Juju music community, including St Janet, Love Azeez and Limbo Atiya.
Individually, each loss was painful. Together, they felt like the closing of a chapter.
For many Nigerians, Olu Jacobs was more than an actor.
He was a fixture in the country’s cultural memory.
Long before Nollywood became a global brand, he represented a standard of excellence that younger actors aspired to emulate.
His commanding performances gave life to countless characters whether as a king, patriarch, statesman, mentor or villain.
Across generations, audiences encountered him through roles in productions such as The Royal Hibiscus Hotel, Pirates, The Dogs of War, Ashanti, Second Chance, Mirror in the Sun, Secret Laughter of Women, Royal Castle, Potomanto, and The Meeting.
Each performance reflected a performer whose presence could elevate an entire production with effortless authority.
Yet, what many people remember most may not be any single role, but his consistency.
For decades, he embodied dignity, professionalism and artistic discipline.
In an industry often defined by rapid change, he remained a steady reference point.
Younger actors looked to him for inspiration, while audiences trusted him to deliver authenticity.
His passing therefore felt less like the loss of an actor and more like the loss of a trusted elder whose influence stretched far beyond the screen.
Tributes poured in from across Nigeria and beyond, reflecting his profound impact.
His legacy was further honoured through Doyen of Nollywood: Celebrating Olu Jacobs, a documentary broadcast by Africa Magic and directed by Femi Odugbemi.
Featuring reflections from industry icons including Joke Silva, Richard Mofe-Damijo, Taiwo Ajai-Lycett, Patience Ozokwor and Kate Henshaw, the film offers a poignant tribute to a man whose work helped shape the foundations of modern Nollywood.
The death of Taiwo Hassan (Ogogo) carried a different, but equally profound, significance.
While Olu Jacobs helped shape pan-African cinema, Ogogo became one of the most recognisable faces of Yoruba-language filmmaking.
For decades, he brought energy, humour, intensity and cultural authenticity to every role.
Whether portraying warriors, antagonists, village leaders, fathers or complex traditional figures, he possessed a rare ability to connect deeply with audiences.
His performances in films such as Legal Wife, Amin Orun, Basorun Gaa, Ayanmo, Owo Blow, Anikulapo, Olaniyonu, Eru Okan, Ija Omode, Asewo To Re Mecca, and Apase helped define generations of Yoruba cinema.
The emotional response to his passing underscored the enduring relevance of indigenous storytelling.
In an era dominated by global streaming platforms, his career was a reminder that stories rooted in language, culture and identity still resonate deeply.
His legacy was further acknowledged by the visit of the Minister of Art, Culture, Tourism and Creative Economy, Hannatu Musawa, to his family, an indication of his lasting contribution to Nigeria’s cultural heritage.
Beyond film, the quarter also saw losses within Nigeria’s music ecosystem.
The passing of Fuji and Juju personalities such as St Janet, Love Azeez and Limbo Atiya may not have attracted the same level of national headlines, but their contributions remain significant.
Fuji music itself tells a broader story about Nigeria’s cultural evolution.
Emerging from Islamic Were traditions, it developed into one of the country’s most distinctive musical genres, shaping celebrations, social commentary and everyday life.
While icons such as Barrister, KWAM 1 and Obesere brought the genre to prominence, its survival has always depended on a wider network of contributors.
Figures like St Janet, Love Azeez and Limbo Atiya were part of that ecosystem individuals who sustained the culture within communities, preserved traditions and passed knowledge across generations.
Perhaps that is the deeper story.
The significance of these losses lies not only in who has passed, but in what remains. The legacies left behind now require active preservation.
The future of Nigerian culture depends not only on discovering new voices, but also on remembering those who built the foundation.
Before streaming platforms, international festivals, billion-naira box offices and global charts, there were men and women who carried Nigerian stories with little expectation of reward.
They performed on modest stages, appeared in early television productions, travelled with theatre troupes and recorded music for local audiences because they believed those stories mattered.
Today, Nigerian culture is a global force. But every global force has its roots.
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And in remembering Olu Jacobs, Ogogo and many others, we are reminded that while icons may depart, the stories they leave behind continue to shape who we are.
