President Bola Tinubu has declared Nigeria’s rich cultural heritage a cornerstone for national economic diversification, using the spectacular return of the Eyo Festival in Lagos as a prime example. Speaking at the Grand Finale of the week-long 2025 celebration at Tafawa Balewa Square, the President framed cultural assets as untapped economic resources with global appeal.
“The glamour of white-robed figures parading our streets sends a resounding message about our identity and our country,” Tinubu stated, according to a release by his spokesperson, Mr. Bayo Onanuga. “It is a reminder that our culture and traditions hold great tourism potential. Indeed, our cultural assets can serve as valuable resources for destination promotion.”
The President’s participation was deeply symbolic. He attended dressed in the full, traditional Eyo regalia—a white robe (agbada), damask sash, and the distinctive, star-studded hat (akete), while carrying the opambata staff. This visual endorsement underscored a key point: for tourism to thrive, it must be championed at the highest levels and presented with authenticity.
The 2025 edition was historically significant, marking the festival’s first holding in eight years. Originating in 1854, the Eyo Festival, or ‘Adamu Orisha Play,’ is more than a carnival; it is a sacred Lagos tradition historically staged to honour a departed Oba (King) or eminent dignitary. This year, it paid homage to four pillars of Lagos: former Military Administrator Mobolaji Johnson, former governor Lateef Jakande, former governor Michael Otedola, and business magnate Alhaja Abibatu Mogaji.
Tinubu described the event as “a great rekindling of our culture” and “a vibrant expression of the rich traditions of Lagos,” which “celebrates exemplary lives and outstanding contributions.” His comments highlight a strategic vision where cultural festivals are leveraged for dual purposes: preserving history and driving economic growth through tourism.
The timing was strategically noted. The festival coincided with “Detty December,” a period when Lagos becomes a hub for diasporan Nigerians and international visitors. This alignment presents a practical model for cultural tourism—packaging major events to coincide with peak travel seasons to maximize economic impact on hospitality, transportation, and local commerce.
Lagos State Governor, Babajide Sanwo-Olu, who welcomed the President to the “historic” homecoming, credited the revival to the traditional institutions under the Oba of Lagos, Oba Rilwan Akiolu. He pledged that his administration would continue to promote socio-economic growth “without neglecting its cultural heritage,” suggesting an integrated policy approach.
The festival itself was a sensory immersion into Yoruba culture, featuring elaborate processions of various Eyo groups (each with unique colours and symbols), traditional Ijala chants, energetic dances like the Bata, and indigenous music. The event concluded with prayers for the nation’s leadership and prosperity.
The presence of dignitaries like Imo State Governor Hope Uzodimma and Chief of Staff Femi Gbajabiamila signals a broader national recognition. The Eyo Festival, therefore, stands as a case study for Nigeria: a unique, indigenous product with the power to attract global audiences, generate revenue, and foster national pride, precisely as President Tinubu envisions.
Edited by Bashir Rabe Mani
