--------------------FESTIVALS--------------------

Boat Regatta
The origin of this festival is enshrined in traditions; one account suggests tha
t it evolved in Lagos in commemoration of Benin successful invasion and the colo
nization of Lagos. Other accounts indicate that it developed in Lagos and riveri
ne areas because of the attachment of the people to water economy and their bel
ief in sea goddess Olokun who is believed to be contributing to their economic p
rosperity in fishing. One other view is that boat regatta is a re-enactment of t
he return of Ashipa who carried the dead body of Aseru to Benin, thus, he return
ed to Lagos graciously with Benin paraphernalia of office and some other assista
nts in canoes. This festivals is celebrated annually virtually in most of the ri
verine areas of the state. It is associated with the rowing and sailing in canoe
s. The official records show that Boat Regatta was first staged in 1933, however
, prior to this period, the people of Irewe, Agbowa, Eredo, Ejirnrin, ketu, Epe,
Ikorodu and some other parts of Amuwo Odofin Local Government Area of the state
have staged so many Boat Regatta in the state. This ceremony is always accompan
ied by colourful display of aesthetically decorated canoes, boats and paddles, d
ancing as wella s singing in praise of Olokun the water godess. The decorated ca
noes and boats as well as artistic display of fishermen on the sea attracted vis
itors and tourists alike. Thus, unlike in the past when it was limited to the di
splay of fishes caught on the high seas and coasts by fishermen, nowadays, river
ine Lagos indigene engage in dances and rituals reflecting water creatures and t
he customs of the performers. This colourful event has become a great crowd pull
er and therefore becomes an agent of solidarity and group harmony among the peop
le.
Zangbeto
Zangbeto is the ancestral cult of the Ogu people locally referred to as Egun. The
cultural festival and its attendant characteristics diffused from the neighbouri
ng settlement of Benin republic where it was used in providing security for the
Ogu community of Benin republic.Humiaze is regarded as one of the founding fathe
rs of the cult. Its wide acceptance made it to be regarded as Togbolasu peoples cu
lt or spirit which was then adopted because the spirit belong to the dark. This
masquerade originated from the Ogu belief in reincarnation. This belief is predi
cated on the view that the spirits of the dead ancestors can assume human form t
o interact with the living. Apart from the annual festival of Zangbeto, its also
use to welcome important visitors, it is used as security operatives in apprehe
nding offenders and ensuring they are reprimanded. It is most importantly celebr
ated during the burial ceremony of cult members. It is usually staged in the nig
ht, at such time that people usually feel insecure, either of armed bandit or of
slave raiders/traders. However, it could come out in the day at the funeral cer
emony of a deceased cult member. Zangbeto is identified with the blowing of horn
and speaking through hollowed instruments made of strong reeds which are the mo
st sacred object of the cult.
Kayo-Kayo
This is a socio-religious carnival celebrated at Epe Town. The festival is obser
ved by the descendants of Oba Kosoko notably referred to Eko-Epe, one of the sub
-ethnic group that inhabit riverine town, while the other group who are the Ijeb
u are the early settlers in the town. Kayo-Kayo festival is marked annually duri
ng the first month of the Islamic calendar in commemoration of Yaom-al Ashiru, t
he tenth day of Muhrram in the Islamic calendar, about a month after Muslims Eid-
El-Kabir. King Kosoko who was the first leader of Eko Epe ruled Lagos between 18
45-1851. With the backing of the British Government, Akitoye depose Kosoko forci
ng him to leave Lagos. Kosoko left Lagos with over 1,500 followers in war canoes
and later settled in Epe. The sentiment attached to the Kayo-Kayo festival by E
ko-Epe people has two cultural values. One is the arrival of their ancestors in
Epe and the pride of place that boat enjoys as a means of transportation and safet
y to an from Epe.
Efe and Gelede
Efe and Gelede festivals are simultaneously celebrated in the middle of the nigh
t preceding the outing of Gelede in the morning part of the day. The difference
between the two lies in the activities of the Gelede taking place in the dayligh
t. In fact, by 6.00 am when the Efe group is preparing to retire inside, the Ge
lede is warming up to come out. The major aspect of Efe is the recitation of pas
t historical phenomenon belonging to a family, lineage or community. This public
display of memory call always contain information relating to physical or moral
weaknesses of an individual, group or community. Some of the event recounted mi
ght relate to genealogical history which is relatively unknown or carefully hidd
en or forgotten by those affected. This is done to reprimand an individual or fa
mily as deterrent against all forms of anti social behaviour. Efe masquerade com
es out in the night singing humorously with varieties of tone completely differe
nt from the voice of other human beings. This special tonal expression the autho
ritative foot stamping during recitation and it song-like composition gives it i
ts uniqueness and entertaining value. Adamu Orisa (Eyo) Festival
This is perhaps the most famous cultural festival in Lagos state. The festival w
as first staged in 1854 in honour of Late Oba Akitoye of Lagos. A complete parap
hernalia of Eyo consist of white flowing gowns that cover the head and feet. An
Eyo wears headgear called Aga but with different colours to signify which group a
particular Eyo wears. Eyo usually carries a stall calledOpanbata as the staff o
f office which is made from palm frond. The stick is usually decorated with arti
stic inscriptions to give its uniqueness and beauty. Opanbata are normally used
by Eyo to greet themselves, the elders and at the same time in beating offenders
or harassing their friends. The nature, colour and costumes of the Aga are diif
erent from one chief to another, because there different groups to which all Eyo
belong. These groups are Adimu, Oniko, Okolaba, Ologede, and Agere. There are r
oyal Eyo like Olorogun, Aromire, Oloto, BAjulaye, Akitoye, Eletu-Odibo, Onilegba
le, Onitana, Ogunmode, Onisemo, Ashogbon, Oluwa, Jakande, Eti, and Oshodi among
others. Each group of Eyo is easily identified by the nature of his Aga. The cul
tural significance of Eyo festival is its usage in the funeral ceremonies of the
death of a king or a chief and a necessity of the crowning of a new chief or ki
ng. No wonder, that in the past, a new Lagos Oba should as a matter of necessity
performed rituals through the Eyo festival to appease his dead predecessor for
the success of his own tenure, failure of which could be disastrous reign. Afte
r Eyo play, it is the belief of the people of Lagos that the festival has cart
away death, sickness and poverty while long life and prosperity has been restore
d to the land.
Ebibi-Agemo Festival
This is one of the major socio-historic festival among the Ijebu. It has an orig
in in the ancestral worship in remembrance of Agemo the son of Obatala who was b
elieved to have lived a courageous life. In Yoruba mythology Agemo as the story
goes ran into conflict with his fatherObatala when he went ahead in defiance to
his fathers directive to marry a lady his father disapproved. This action of Agem
o did not go well with Obatala who vowed to punish his son. According to traditi
on, Obatala therefore withdraw all the magical powers earlier given to his son f
or regular magical activities. This made it practically impossible for Agemo to
return his body back to normal in one of the magical functions he performed. It
was reported that termites invariably consumed Agemos intestine. He thus found it
difficult to move in public. But so courageous was Agemo that he never allowed
his deformity to prevent his public outings. He therefore devised a way of cover
ing his body with mat anytime, he is in public in order to conceal his deformity
. From then on, members of his community who saw his action as a symbol of coura
ge and tolerance institutionalized his worship. That was how Ebibi-Agemo festiva
l came to celebrated very year round.
Igunuko Festival
According to the tradition, Igunuko originated from Nupe land and difused from
Bida to Awori land. The Nupe people are called Tapa, hence the popular saying Igu
nu lon Tapa, Tapa loni Igunu meaning Igunu own Tapa, Tapa owns Igunu. Epetedo area
of Lagos state is the cradle ofIgunu in the state. Igunuko is traditionally beli
eved to be a secret cult in hunting and terrorizing witches as well as driving
away evil forces within the community. Igunuko dresses in robes of varying colou
rs. Igunu is cylindrical in shape and about for meters tall. It varies in size a
nd could be as small as 1.5 meters. A companion of Salumogi, which is a short ma
squerade that holds a whip and clears the way for the tall one called Baba-Igun
u.
Iroko Festival
This festival, a predominantly female affair is celebrated in some parts of the
state such as Badagry. During the festival, female elders dance to honour Iroko
which is believed to be living in the bowel of women. Dance formations of the di
fferent patterns are exhibited by elderly women who dance round the well dressed
man symbolizes Iroko. Drums include rattles, medium sized drum called ale and t
he beat of Aperi and Ahirihum are used. The beat of the drum dictate dancing st
eps; slow, vigorous or graceful. On the other hand, the submissiveness of the wo
men folk to this deity is further reveal by the total response of these dancing
female elders to the symbolic Iroko, one after the other. It is better understoo
d by paying attention to the group of the people involved in the ceremony. Age h
ere, more than anything else is a requirement for upward mobility. Thus, the soc
ial recognition bestowed on female elders who are involved in the dancing festiv
al is denied young female for whom rite of passage is necessary for such respect
.