In a landmark moment for cultural preservation, Lagos State Governor Babajide Sanwo-Olu has unveiled a monumental 32-foot statue dedicated to the iconic Eyo masquerade. The unveiling ceremony at the John Randle Centre for Yoruba Culture and History marks a significant investment in the state’s heritage, transforming a symbol of tradition into a permanent public landmark.
The statue, mounted on a six-foot base, stands nearly 40 feet tall. Governor Sanwo-Olu described it as more than an artwork, calling it “a symbol of culture and identity” that reflects the profound depth of Lagos’s heritage. “This unveiling is simple, yet very significant,” he stated. “It is a wholesome experience that celebrates the Eyo Adimu Orisa Festival and what it represents to Lagos and our people.”
Beyond a Statue: The Deep Significance of the Eyo
To understand the monument’s importance, one must grasp the Eyo’s role. The Eyo masquerade is not merely a festival costume; it is a sacred figure that appears during significant rites, most notably the funeral of a high-ranking Oba (King) or chief of the Adimu Orisa play. It represents the spirits of the ancestors and serves as a link between the physical and spiritual realms. Each color and element of the Eyo’s regalia—the white *agbada* (robe), the *opambata* (palm branch), and the distinctive hat (*arugba*)—carries specific meanings related to purity, authority, and transition. By immortalizing this figure, the monument codifies a living, spiritual tradition into a touchstone of public history.
The artist behind the colossal work, Mr. Dotun Popoola, conceived it as a commitment to promoting culture. “The artwork is intended to inspire pride, cultural consciousness, and continuity among present and future generations,” Popoola explained, thanking the state government for its support. The project aligns with a broader governmental strategy. Sanwo-Olu reaffirmed his administration’s commitment to “support initiatives that preserve, promote and showcase Lagos’s rich cultural heritage to residents and visitors alike,” positioning culture as a core pillar of the state’s identity alongside its famed commerce and infrastructure.
A Hub for Cultural Education and Continuity
Mr. Qudus Onikeku, Chief Executive Officer of the John Randle Centre, outlined the monument’s role within a larger educational mission. The centre plans to produce a documentary film on the Eyo festival, featuring the respected custodian of Yoruba culture, Erelu Abiola Dosumu. This dual approach—a physical monument and digital documentation—ensures the tradition is preserved in multiple formats for posterity. “The monument and the planned documentary align with the centre’s mandate to serve as a hub for cultural education, preservation, and creative expression,” Onikeku said.
Erelu Abiola Dosumu, the Erelu Kuti IV of Lagos, praised the governor’s holistic approach. She linked cultural development directly to physical infrastructure, noting that “cultural development thrived best in an environment supported by strong infrastructure.” This insight underscores a modern governance philosophy: that roads, bridges, and public spaces provide the foundation upon which intangible heritage can be celebrated and accessed by all.
The unveiling, tied to the Eyo Adimu Orisa Festival, is a powerful statement. It moves cultural expression from the ephemeral realm of festival days into the permanent landscape of the city. It serves as a daily reminder to Lagosians and visitors of the deep historical currents flowing beneath Africa’s most populous metropolis, ensuring that as Lagos races toward the future, it carries the unmistakable imprint of its past.
Edited by Sandra Umeh
