After an eight-year silence, Lagos returned to its cultural heartbeat as the iconic Eyo Festival lit up the city once again, drawing thousands of residents, tourists, and culture enthusiasts into a living tapestry of history, movement, and memory. Known as the Adamu Orisha Play, the festival is one of Nigeria’s most revered traditions defined by its white-clad masquerades, rhythmic processions, and deep Yoruba symbolism that has shaped Lagos for centuries.
For the Lagos State Government, the festival’s revival signals more than celebration. It reflects a broader commitment to preserving cultural heritage, boosting tourism, and strengthening the creative economy in Africa’s most populous city. Traditionally staged to mark significant milestones such as the coronation of a new Oba of Lagos or the passing of prominent indigenes, the Eyo Festival remains a sacred bridge between past and present.
Nigerian lawmaker Gbenga Ashafa underscored the deeper meaning behind the spectacle.
“The Eyo Masquerade Festival is one festival that does not come every day. It is designed to honour prominent Lagosians who have passed on,” he explained. “That is why those being celebrated belong to that realm of high-powered Lagosians.”
The last Eyo Festival took place in 2017, with subsequent editions suspended due to public health and security concerns. Its return has reignited conversations across the city, some questioning its relevance in a rapidly modernising society. Yet, for many attendees, the festival’s power lies in its ability to unite rather than divide.
Visitor Akindipe Olalekan-Olu dismissed the idea that tradition conflicts with modern faith or lifestyle.
“I happen to be a Christian, but that doesn’t mean I shouldn’t celebrate the Eyo Festival,” he said. “We shouldn’t abandon our old, traditional structure. Eyo Festival is a friendly festival, it brings everyone together from all parts of the world.”
This renewed commitment to cultural preservation was further reinforced with the unveiling of a monumental symbol of Lagos’ identity. On the same day, Lagos State Commissioner for Information and Strategy, Gbenga Omotoso, commissioned the Eyo Monument at the John Randle Centre for Yoruba Culture and History in Onikan.
Standing at an imposing 32 feet, the monument is the tallest Eyo statue ever created. More than a striking work of public art, it captures the spirit of Yoruba heritage and offers visitors a powerful space to learn about Lagos, reflect on its history, and connect with its enduring story.
The project was curated by renowned Nigerian artist Dotun Popoola, whose craftsmanship brings depth, emotion, and authenticity to the piece. The monument stands as a testament to what Nigerian talent can achieve when given the space to tell its own stories boldly and unapologetically.
With this addition, the John Randle Centre becomes even more significant as a living home for Yoruba history and traditions, a space designed to preserve culture for generations to come. It reinforces Lagos’ evolving identity as a city that embraces progress while honouring its roots.
As Lagos positions itself as a global cultural and tourism hub, the revival of the Eyo Festival and the unveiling of the Eyo Monument send a clear message: heritage is not a relic of the past, but a foundation for the future.
