It is an ancient and annual festival, celebrated by sons and daughters of Ijebu-Ode, in Ogun State, on the third day after Eid al-Kabir; popularly known as Ileya.

History has it that long before Christianity and Islam, there was the Ode Nla Festival, a practice of paying homage to the monarch, ‘Awujale’ of Ijebu land by dignitaries and subjects with their symbols of worship. This practice morphed into Ojude Oba as we know it today during a time of religious transition.

According to history, in the 1800s, as Christianity expanded into Ijebu-Ode, monogamy was a condition for new converts. Balogun Kuku, a wealthy and influential man with more than thirty wives and hundreds of slaves, converted to Islam instead, which had no restrictions, and influenced many Ijebus.

Earlier, Balogun Kuku led the Ode Nla Festival honouring deities and the Awujale. Islam however, discouraged such practices. Rather than abandoning the festival, he initiated a new festival called Ita-Oba festival, later renamed Ojude Oba aligning with his faith that preserved respect for culture. This quickly became a beloved tradition featuring a colourful cultural carnival with elaborate processions, competitions, horse-riding displays, music, fashion, and the full splendour of Ijebu pageantry.

What began as a modest homage to a monarch by early Muslim converts in the 19th century, has evolved into one of Nigeria’s most vibrant displays of cultural heritage, showcasing the power of tradition to unite, inspire, and renew.

During the festival, all attendees pay homage and show respect to the Awujale of Ijebuland. It is one of the most spiritual and glamorous festivals celebrated in Ijebuland and generally in the State.

During the Ojude Oba Festival, different cultural age groups known as ‘regberegbe’ composed of indigenes, their friends, and associates far and near parade at the front courtyard of the king’s palace on the third day of Eid al Kabir popularly referred to as “Ileya” in Yoruba language.

The Awujale brought back the age groups in the 18th century into the general acceptable phenomenon that is found among today’s Ijebus, and this has become an integral part of the annual Ojude Oba festival in Ijebu.

The age groups was incorporated into the festival to bring development and progress to the community.

The current Awujale of Ijebu land, Oba Sikiru Kayode Adetona, has played a monumental role in nurturing the festival, elevating it to national prominence. Since his ascension to the throne in 1960, he has led with vision, wisdom, and an unwavering commitment to preserving Ijebu culture.

Under his reign, the festival has transformed from a local Islamic observance to a globally recognised cultural event.

His efforts to institutionalize the ‘regberegbe’ system, modernise the palace infrastructure, and promote Ijebu unity have had a lasting impact. Ojude Oba, under his guidance, has become both a mirror and a map—a reflection of Ijebu’s past and a guide to its future.

Ojude Oba represents the social cohesion, culture, history, identity and civic responsibility welcoming Muslims, Christians, and followers of African traditional religion alike.

Beyond its symbolic and historical significance, Ojude Oba is a major economic driver for the region. The festival attracts thousands of visitors annually, including members of the Ijebu diaspora, tourists, scholars, and culture enthusiasts. Hotels, restaurants, tailors, event planners, photographers, traders, and transport operators all benefit from the massive influx of people. The town’s economy receives a significant boost and patronage each year.

It is usually celebrated with pomp and pageantry by about 1,000,000 people from different parts of the world and Nigeria, especially those from Yoruba origin and most especially by people of Ijebu descent all over the world.

The festival has gained international attention, with media coverage spreading across Africa and the diaspora.

 Ojude Oba is a compelling case study in how cultural tourism can be developed into a viable industry. It is also an opportunity to tell positive stories of beauty, resilience, tradition, and pride about the country.

The festival affirms Ijebu, Yoruba, and Nigerian heritage, providing younger generations with a strong sense of belonging and pride.

The festival also serves as an important archival function. The processions, songs, attire, and oral histories recited during the celebrations contribute to the preservation of cultural knowledge that might otherwise be lost. In a world where language and tradition are increasingly endangered, such festivals are a lifeline.