Every year, just days after the Muslim Eid al-Kabir celebration, the ancient city of Ijebu Ode in Ogun State becomes a radiant mosaic of colour, culture and festivities. The Ojude Oba festival, one of Nigeria’s most culturally significant gatherings, takes centre stage, drawing thousands of indigenes, visitors, celebrities, and dignitaries from across the country and beyond, TOFARATI IGE writes
What was once a small, religious thanksgiving among Muslim converts in the historical city of Ijebu Ode has now become a major cultural spectacle that reflects not just Ijebu’s heritage but also the vibrancy and unity of the Yoruba tradition. In 2024, the festival’s global appeal exploded in large part due to one man— Farooq Oreagba.
A cancer survivor, fashion icon, and cultural ambassador, his now-viral images brought fresh energy and attention to the age-old celebration.
However, while the world admired the splendour, Ogun State’s glaring infrastructural decay threatened to overshadow the glory.
A rich tradition
The Ojude Oba Festival, which literally translates to “the king’s courtyard festival”, began over a century ago as a gathering of Ijebu Muslim converts who came to pay homage to the Awujale, the traditional ruler of Ijebuland, for granting them religious freedom under his reign. Initially a modest religious affair, it has evolved into a full-blown cultural celebration where regiments (called ‘age grades’ or ‘regberegbe’) parade in flamboyant attire, riding exquisitely adorned horses and accompanied by music, dance, and storytelling.
Each group—comprising men, women, and sometimes children—marches proudly before the Awujale to show loyalty, celebrate achievements, and demonstrate the enduring strength of the Ijebu nation.
The resurgence
Though always respected, Ojude Oba hit new heights in 2024, thanks to Oreagba, the Managing Director of NG Clearing Limited and former executive at the Nigerian Stock Exchange.
Oreagba’s bold fusion of agbada, tattoos, sunglasses, and his dignified horse ride made global headlines. His presence symbolised a refreshing blend of modern elegance and cultural authenticity, which younger generations could both admire and relate to.
The photos and videos of Farooq set social media ablaze. What was once a regional celebration quickly gained international recognition, as millions of viewers across social media platforms such as Instagram, TikTok, and Twitter shared the story of the festival. One viral post after another, it soon became a global moment of cultural pride.
The power of visual storytelling
Though the Ojude Oba festival is rich with culture and laden with tradition, there is no gainsaying that quality pictures and videos have helped to tell its story far better than word of mouth ever could.
Both admirers and critics alike have come to acknowledge that one of the biggest drivers of this newfound global fascination was the quality of images and video content that emerged from the festival. In previous years, documentation had been largely informal. But recent years have seen high-definition visuals capturing intricate embroidery, regal horse pageantry, and emotionally powerful moments, including one which froze the moment Oreagba tipped his hat to the crowd with a cigar straddled between his lips in 2024.
This speaks volumes about the role of content creators, photographers and videographers in cultural preservation and promotion. In an age where virality can shape narratives overnight, the work of visual artists cannot be overstated. Organisers and attendees of several festivals across the country can take a cue from how well-curated visual materials help to tell the “Ojude Oba story”. Through them, the festival has moved from being a regional treasure to an event with continental and global relevance.
Return of Mr Steeze 2.0
For weeks leading up to Ojude Oba 2025, whispers spread across social media, with many wondering whether Oreagba will hug the spotlight as tightly as he did in the 2024 edition, which birthed and cemented his reputation as the “King of Steeze”.
On the D-Day, the buzz was electric, both on and off social media. And indeed, the corporate executive did not disappoint. Onlookers stepped aside as Oreagba strode in, poised and confident, wearing a refreshed version of his iconic look; this time with subtle tweaks that still paid homage to his signature “steeze”.
Admiring his looks, a “fan” gushed on X, “He came through again—same swagger, new energy.” Yet, another wrote, “Make that King of Steeze 2.0.”
In a similar vein, social media posts comparing his 2024 and 2025 appearances racked up thousands of views in hours. The National Council for Arts and Culture, which had named him a honourary member, posted highlights of his entrance and called it “a masterclass in elegance and tradition.”
Meanwhile, Oreagba’s viral fame has had real-world consequences. Beyond the compliments, brands, such as Airtel, have worked with Oreagba. This is even as some traditional enthusiasts have referred to him as the face of “cultural renaissance”.
Also contributing to the magnetic pull Oreagba has is his battle with cancer. A story of resilience; he has often spoken about how he beat bone-marrow and skin cancer after a harrowing battle in 2014. According to him, his tattoos, some of which were inked after the ordeal, are not just aesthetic, they symbolise triumph. This juxtaposition of tradition and modernity; as well as struggle and celebration resonated powerfully with Nigerians, making him a dignified cultural figure on one hand, and a modern-day hero on the other.
Harvest of wins for Ijebu, Nigeria
Economically and socially, the Ojude Oba festival has been a catalyst for community development. Days to the festival, hotels in Ijebu Ode are fully booked weeks in advance. Bars, lounges and other hospitality outfits also enjoy in the boon as they witness an influx of cultural tourists who come to immerse themselves in the luxurious
Small businesses, including fashion designers, food vendors and transporters, also enjoy a spike in demand. Youth groups engage in cultural exhibitions, local artists get booked, and the tourism sector records one of its most vibrant periods of the year.
More importantly, the festival reinforces Ijebu identity and unity. It provides a platform for inter-generational bonding, heritage education, and civic pride.
The wider Yoruba cultural sphere similarly benefits from the attention and reverence the festival commands, reminding the world of the intellectual, artistic, and organisational sophistication embedded in Nigeria’s diverse cultural makeup.
Ogun’s missed opportunity
In the midst of this incredible momentum, one can’t ignore a glaring irony: the state of the roads leading to Ijebu Ode. Despite knowing the influx of visitors the festival attracts annually, the Ogun State Government failed to take proactive measures to rehabilitate the main access roads. Many festival goers shared tales of pothole-ridden roads, traffic nightmares, and the general discomfort of navigating dilapidated infrastructure.
More than just an inconvenience, it was a missed economic opportunity. Proper infrastructure would not only make the festival experience smoother for locals and tourists, but also position Ijebu Ode as a viable destination for year-round tourism and investment. Sadly, this reflects a larger pattern of neglect under the current administration, whose record on infrastructural development remains questionable at best.
For a state with such rich cultural capital, the inability to marry tradition with functional amenities is both disappointing and detrimental.
How brands seized the moment
On a brighter note, brands were quick to recognise the festival’s marketing goldmine. From telecommunications giants and banks to fashion houses and beverage companies, the festival was awash with strategic brand placements, sponsored regberegbe groups, customised outfits, and themed photo booths.
Companies used the festival to connect with grassroots audiences, strengthen brand loyalty, and tap into the emotion-driven appeal of cultural heritage. For many, it wasn’t just about visibility, it was also about association; standing beside a celebration that resonates deeply with pride, unity, and excellence.
The Ojude Oba Festival is more than a day of festivities. Rather, it has come to be a living archive of Yoruba history, a potent force for economic stimulation, and a world-class cultural event in need of thoughtful governance support. Its successful 2024 and 2025 resurgence showed just how far cultural heritage can go when paired with strategic storytelling and community pride.
Hence, it is time for Ogun State to step up. As a matter of urgency, the government should fix the roads, build infrastructure, invest in the cultural economy, provide grants to local artisans, create a digital archive, and ultimately make Ojude Oba not just an annual event but a permanent pillar in the tourism master plan of the state. (Punch)
