Sustainability in Ojude-Oba dress tradition and tourism

Abstract

The Ijebu people are famous for celebrating the annual Ojude-Oba festival, with the precept of paying homage to the Monarch for over a century. The different age groups compete in a sustainable dress designed in traditional styles called aso-egbe. The festival attracts an unflinching crowd from home and abroad, featuring fashion parades and cultural shows. The paper documents the dress tradition of the age groups during the Ojude-Oba festival and its potential for tourism development in Ogun State and Nigeria at large. It revealed that the continued execution of this event has brought about tremendous development to Ijebu-Ode in trade, technology, commerce and industry as well as building a strong jingoistic spirit among the Ijebu populace. The dress-group model displayed during the event promotes culture and fashion sense. Designed from eco-friendly local materials it also reflects the class and opulence of individual groups. It communicates status, age, prestige, beauty and aesthetics. The study recommends the sustenance and promotion of traditional dress. The government should give deserved attention to events with a strong potential of attracting inbound tourists to enhance economic growth and development among Nigerians.

Keywords:

• Ojude-Oba
• dress
• age-groups
• aso-egbe
• tourism

PUBLIC INTEREST STATEMENT

The Ojude-Oba festival has been celebrated for a century with great emphasis on dress and appearance among the participating age-groups. The study examined the dress items used for the occasion for the interest of experts and non-specialist readers. The report of the paper relates to dress items used in other social events across the globe such as the Brazilian Rio de Janeiro. Other cultures like the Indians use Sari, while the Ghanaians are known for Kente. The dress items play specific roles in these events

1. Introduction

Clothing and appearance play different roles in socio-cultural events in Nigeria. They communicate status, identity and social responsibilities (Diyaolu, 2010). The Ijebu people in Ogun State, Nigeria, celebrate the annual Ojude-Oba festival which entails paying homage to the Monarch, the Awujale of Ijebu-land, for over a century now. The event has grown in leaps and bounds into a tourist attraction. This touristic event also features a fashion parade, as evident in the competing spectacles of aso-egbe (uniform dress) spotted by different groups during the event. The different age groups compete in sustainable dresses designed in traditional styles. The sustainability aspect is worth documenting for present and future generations. For instance, Akinwumi (2015) opined that the classic adire eleko (tie-dyed) fabric has been declining progressively among the Yoruba and might not be seen in the nearest future. This is not the case with aso-oke (handwoven) fabrics that have been sustained during the Ojude-Oba festival.

The concept of sustainable dress implies an ethical appearance without negative social, economic and environmental impacts. It is such that the social responsibilities of consumer behavior can help in minimizing environmental issues (Gardetti et al., 2021). Through the Ojude-Oba festival, the Ijebu people have been able to sustain the dress code and tradition for more than a hundred years. Tourism was affected by the COVID-19 pandemic (Adewumi, 2021) therefore, Ojude-Oba could not hold in years 2020 and 2021. The role of art and technology in the aesthetic growth and development of Ojude-Oba features prominently during this annual event.

Coupled with the fashion parade is the tourism aspect in Ojude-Oba. Tourism has been one of the fastest growing industries that are receiving global attention as an alternative economy. Tourism motivation factors were observed to contribute to the livelihood strategies of the people where the event is hosted and attract the interest of different attendees (Bakare, 2019; Oladunni & Adeogun, 2022). This is visible in the Ojude-Oba festival which deals with a collection of activities including transportation, accommodation, eating, drinking, and other hospitality services provided for individuals or groups travelling away from home.

Similar to the Ojude-Oba festival, the Brazilian Rio de Janeiro carnival is celebrated every year with notable dress and costumes. Williamson (2012) and Oosterbaan (2017) discussed the cultural politics surrounding the carnival between 1995 and 1999 and documented the struggle over Afro-Brazilian culture and the wealth generated from the carnival.

The study of Diyaolu (2009) documented the significance and forms of Ojude-Oba dress for 2006 and 2007 events. There has not been any other single study with a collection of dress items used during the festival. The need for further documentation of the yearly dress and the attendant contribution to sustainable development necessitated this study. Although, over the years, the activities at Ojude-Oba have been consistent, the dress of the age groups, however, has varied over time. What is the dress trend in the past years (2015–2022)? What sustainability issues emanate from the fabrics used for the events over the years? What developments has the festival brought to Ijebu land? The paper examined the role of the festival in the sustainability of dress used by the age groups that feature prominently during the event in Ijebu-Ode and the developmental changes within and outside the town.

2. Literature review

2.1. The Ojude-Oba festival: A touristic attraction

The various sectors of tourism feature greatly during the Ojude-Oba festival. Sote (2003) documented the origin of the Ojude-Oba festival in the middle of the nineteenth century. The then monarch, Oba Fidipote, was a friend to Alfa Tunwatoba, the chief Imam. During an Eid-el-Kabir festival, the Monarch gave the Imam a ram. The Imam in return went with his family and friends to the Monarch’s palace on the third day to thank him. Since that time it became customary for the Monarch to present the Muslims with a ram for the Eid-el-Kabir festival and the Muslims in appreciation returned to thank him two days after the celebration.

Chief Bello Oduneyingbo Kuku, a Muslim convert is believed to have transformed the event of showing appreciation to the Monarch into a festival filled with pomp and splendour. While he was going to thank the Monarch for the ram, he dressed gorgeously and rode on an adorned horse. He was accompanied by his elderly sons, all on horse’s back, his Ibadan drummers and singers, prominent men of Ijebu land and members of the Muslim community. The group went around the town before proceeding to the palace ground. This practice eventually became an annual event with more prominent families in Ijebu Ode joining the procession on horse’s backs.

Today, a lot of innovations have been inculcated in the planning and execution of the Ojude-Oba festival since it affords the unique opportunity to display Ijebu’s legendary, hospitality and enviable tradition to the global community. Various organizations sponsor the event which has made it blossom from a local festival to an international one.

Before the days of each event, tight security with uniformed men mounted everywhere in Ijebu Township as well as the Awujale palace. The arena of the event was lavishly decorated with banners and placards, make-shift shops, and small food stalls. Although the festival has its origin in Islam, it is celebrated exuberantly by all citizens of Ijebu land regardless of faith, both Muslims and Christians (Hugh, 2006). The programme starts with a recitation of the National anthem and the Awujale anthem, followed immediately by the opening prayer. Next is the introduction of governors and their entourage and other distinguished personalities at the event. The welcome address is delivered by the Awujale and the chairman of the Ojude-oba festival organizing committee. Then the age-grade members, dressed glamorously, fill past the stage to pay homage to the Monarch (plate 1), praying for him while he in return blesses them. Sponsors of the programme also pay homage to the Awujale. The elesins, the horse riders, display their expertise in horse riding to glamour the occasion before the entire populace. The occasion is often seasoned with some cultural and callisthenic displays. Dancing, singing, beating of drums, spraying of money and extraordinary jubilation characterize the events. From early morning till late in the night, every participant and observer is filled with great humour. Each age grade retires to their prepared arena corner, usually under a wide canopy to continue eating, drinking and exchanging pleasantries with their loved ones. The event indeed provides an atmosphere of great excitement and relaxation to the participants as well as the observers; most especially the awesome sight of colourful cultural dress.

2.2. Age-grade (Regbe-regbe) societies in Ijebu land

Areo (2016) mentioned that the word Regbe-regbe is an Ijebu dialectical version of what the people in Oyo would call legbe-legbe, meaning age-grade. This represents age mates or people within the same age bracket. The Regbe-regbe has been developed due to an increase in the numerical strength of the Ijebu, exposure to western education as well as prosperity and peace in the land. Age grades are traditional institutions common among the Yoruba. Fajana (1968) established that age groups probably existed in most Yoruba communities in the past while Akinwumi (2005) opined that new political situations led to their demise in the 19^th century as a result of widespread displacement occasioned by the Yoruba internecine wars. Evidence of their resilience can still be observed among the Ekiti, Owo and Ijebu people. Age-grade societies in Ijebu-Ode started in the 18^th century (Sote, 2003). They formed part of the Ijebu traditional democratic government. These groups played a very important social, cultural and economic role in the survival of Ijebu society. Members assisted each other when the need arise and they cleared footpaths, constructed bridges and markets, cleared rivers to make water suitable for drinking and provided needed security for towns and villages during wars. They consist of male and female peer groups distinguished by different names such as Bobagunte, Obafuwaji, Bobajolu etc. Today, the age grades are involved in developmental projects via social responsibility; they decorate the towns, renovate schools, construct bore-holes, support the motherless and the needy, supply medical equipment to hospitals and execute other communal and beneficial assistance. It is the age grades that feature prominently in traditional dress during the festival.

3. Methodology

3.1. Ijebu-Ode town

Ijebu Ode is a town in South Western Nigeria, located in Ogun State (Figure 1). It is bordered by Oyo State in the North and Lagos State in the South. It shares the same boundary with Ondo State in the West and Remo division of Ogun State in the East. It has a total population of 209,175 and is located on 6.8194 Lat (DMS) 6° 49” 10N, 3.9173 Long (DMS) 3° 55” 2E (Nigeria Galleria, 2021). Ijebu Ode is a commercial town and a collection point for cocoa, kola nuts, and palm products. Manufactured products include textiles, metal and clay products, processed timber and plywood, canned fruit and juice, and milled rice (Sote, 2003).

Figure 1. Map of Ijebu Ode.

Source:https://www.researchgate.net/figure/Showing-the-map-of-Ijebu-Ode_fig1_323628472

The study employed a qualitative approach. Data was collected using an interview schedule. Four male and female age groups were purposively selected to include Jagunmolu, Gbobaniyi, Bobagunte, Obafuwaji among others. An interview schedule of selected key leaders and members was conducted. The age groups were interviewed at meetings and during the event. The work of Diyaolu (2009) documented the 2006 and 2007 editions of the Ojude-Oba festival, this study examined subsequent events (2015–2022) and observed a consistency from the past to the present. The festivals could not hold in 2020 and 2021 due to the pandemic. Secondary data was collected from journals and online searches.

The study is limited to the dressing of the age group members only with a special focus on their traditional attire. Several other participants put on special dresses for the occasion like the horse riders, drummers and other participants.

4. Findings

Table 1 shows the description of some age-group dress between 2015 and 2022. The use of aso-oke is very prominent throughout the years of examination. While all the female age groups dressed in buba, iro and gele, all the men dressed in agbada, sokoto and fila. The form of dress is used to describe the style, colour, shape and overall design of dress items (Figures 2–5). The form of Yoruba women’s costumes according to DeNegri (1976), and Diyaolu (2010) are classified as follows:

Figure 2. Dandogo.

Figure 3. Buba and Sokoto.

Figure 4. Agbada.

Figure 5. Gele, Iborun, Buba, Ipele and Iro. 2–5: Yoruba Traditional dress is usually made of eco-friendly materials during Ojude-ObaFestval.

Source: Adapted from Adeoye (2005)

Table 1. Description of some selected age-group dress (2015–2022)

Year	Gender	Nature of dress	Style of dress	Figures
2015	Female	Navy blue aso-oke, with wine stripes	Buba, iro, gele, beads, necklace, hand fan	Figure 10
2016	Male	Blue aso-oke, with white stripes	Agbada, sokoto, fila	Figure 11
2017	Male	off-white Guinea brocade	Agbada, sokoto, fila, necklace	Figure 12
2018	Female	Lemon green embroidered lace, aso-oke	Buba, iro, ipele, gele, beads, necklace	Figure 13
2019	Male	Wine guinea brocade	Agbada, buba, sokoto, walking stick, hand fan	Figure 14
2020	-	-	-	-
2021	-	-	-	-
2022	Female	Wine dress with wine aso-oke	Buba, iro, gele, ipele	Figure 15

4.1. Iro

This is made from just over three meters of fabric and is usually wrapped around the body over the undergarment. It is wrapped to the side in a draped fashion. Married women add a second cloth, tied over the first one. By being tied higher, it covers the breasts and exposes the underclothes beneath them. This can be used to support the baby at the back (Figure 5).

4.2. Buba

This is a simple blouse made from two rectangular fabrics, joined at the sleeves. It is sewn to the edges of a neckline cut from the fold.

4.3. Gele (head tie)

This is an important part of the Yoruba female dress. It is a strip of fabric wide enough to be tied stylishly around the head to cover the hair. Fashionable women added more cloth to their gele (Figure 5). Names have also been given to these head-ties since they became part of the female Yoruba costume. New methods of draping the gele were introduced to mark social and political events. Onile gogoro (sky scrappers) is one such style when the head tie is draped high on the head. Modernization has brought the trend of leaving the head uncovered, with the advent of new styles of hairdressing like braiding.

4.4. Iborun

This is a smaller cloth folded and laid over the left shoulder (Figure 5).

4.5. Jewellery

especially golden earrings, necklaces and bangles, are held in high esteem by Yoruba women. They treasure high-quality jewellery and purchase them based on their income. Those who could not purchase the original ones still use gold-washed jewellery.

The form of Yoruba male dress includes buba, sokoto, agbada and fila (Figures 3 and 4). The torso-fitted large coverings are known as agbada, girike, gbariye and dandogo. They are worn over the buba. On agbada, there can be pleats (abe), such as in agbada alasepe or agbada olona. Thirty-six meters of traditional woven strips would be needed to make an agbada alasepe gown. The gbariye type has no sleeves. Dandogo (Figure 2) could be constructed by first making a gbariye and joining voluminous buba sleeves to it.

The basic shape of most Yoruba garments is a rectangle. Pleats are inserted over the materials at the top, below the shoulder level, thus opening out the hemline. The effect obtained along the lower part of the gown is a skirt-like formation giving almost a circular shape. When used for dancing in ceremonies, the gown swirls around the wearer as he moves in small steps to Yoruba traditional music.

The various age groups feature during the festival, attired in various Yoruba traditional styles. One major outstanding thing about the event is that people dress gorgeously and elaborately in native attires displayed in locally made and or handcrafted textile fabrics. Aso-egbe is the name given to the dress used by groups for special occasions. They are uniforms that distinguish one group from another. The major dresses used during the event are:

4.6. Sanyan

This is regarded as the king of clothes among the Yoruba. The fibre used for making this cloth is obtained from the cocoon of the silkworm. The silk fibres are processed, handspun into silk threads, washed, and soaked in cornstarch. The colour of the silk gives sanyan a natural beige colour. This cloth form is particularly associated with monarchs and affluence and its use is widespread in Yoruba land.

4.7. Etu

Etu is a unique Yoruba cloth that is dyed repeatedly in traditional indigo blue dye. At intervals during the dyeing process, the cotton threads are brought out to the sun for proper drying and stretching. Etu is also a prestigious cloth worn mainly as a status symbol among Yoruba.

4.8. Alaari

This is a cloth form that was originally made from sanyan and dyed in red camwood solution. Today, most producers of alaari use machine-spun cotton thread of red colour. According to Lamb and Holms (1980), alaari is associated with the sovereign, fabric worn by kings and chiefs to show off their integrity and domains while sanyan and etu are worn for functional celebrations like weddings, installations and festivals (Asakitikpi, 2007).

4.9. Aso-Oke

Aso-Oke is a commonly woven cotton cloth among the Yoruba people. It comes in different colours, patterns, and designs. In recent times aso-oke is embellished with frills and glass fibre to enhance its beauty. It is mostly in the recent time-worn as gele and ipele by women. Its colour is often combined with the main dress or other dressing accessories such as shoes and bags. Men often wear it in caps of different styles and or agbada (men’s flowing gown).

4.10. Sustainability of dress culture among the Yoruba

The concept of sustainability in dress tradition hinges on the social, economic and environmental implications of the dress (Campos et al., 2020). Fibre types and textile structures could constitute sustainability challenges (Costa1 et al., 2020). The sustainability of age-grade dress was narrated.¹

4.10.1. Materials used

Eco-friendly materials are used in the production of traditional fabrics used during the Ojude-Oba. Cotton materials are bio-degradable. Such biodegradable materials constitute no threat to the environment (Diyaolu, 2022). Cotton fabrics can be recycled and reused for other purposes.

4.10.2. Methods of production

Olutayo et al. (2011) opined that the pre-weaving process of aso-oke, a major fabric used in Ojude-Oba, begins with the planting of cotton, harvesting, ginning, combing and spinning process. All the activities were carried out manually. The various components of the loom used in weaving included the shuttle, warp and weft thread, heddle, shaft, beater, roller and drag stone.

The sustainability of the Ojude-Oba festival could also be viewed from the upholding of indigenous dress culture rather than foreign ones (Omotoso & Ogundiran, 2016). Even the women use the buba and iro which is peculiar to the Yoruba dress culture.

4.10.3. Characteristics

Traditional dresses like aso-oke are durable and last long (Diyaolu & Omotosho, 2020). They are associated with longevity and are not quickly disposed of. Some can be retained for more than 10 years. They can be handed over to other family members, thereby prolonging the shelf life. Figures 2–5 show the forms of Yoruba traditional dress sustained during the festival while Figures 6–14 show the styles and colours of the dress. The most recent celebration of Ojude-Oba festival was in the year 2022 (Figure 15)

Figure 6. Bobayo male group attired in sanyan embroidered agbada.

Source: Author, 2006

Figure 7. Bobayo male group dressed in etu fabric.

Source: Author, 2007

Figure 8. Obaleke male group in aran and damask.

Source: Author, 2007

Figure 9. The researcher interviewing age-grade members during the 2007 event of Ojude-Oba festival.

Figure 10. Ojude-Oba 2015.

Source: https://www.nairaland.com/2627772/photos-2015-ojude-oba-festival

Figure 11. Ojude-Oba 2016.

Source: https://yemojanewsng.com/colourful-pictures-from-the-2016-ojude-oba-festival/

Figure 12. Ojude-Oba 2017 Dress.

Source: https://www.bellanaija.com/2017/09/culture-heritage-celebration/

Figure 13. Ojude-Oba 2018 Dress.

Source: https://www.bing.com/videos/search?q=ojude+oba+festival+2018&view=detail&mid=47C34C959626EE10780F47C34C959626EE10780F&FORM=VIRE

Figure 14. Ojude-Oba 2019.

Source: https://www.bellanaija.com/2019/08/ojude-oba-festival/

Figure 15. Ojude-Oba 2022.

Source: https://www.vanguardngr.com/2022/07/ojude-oba-cultural-celebration-as-brand-strategy/

4.10.4. Environmental significance

Khalili (2011) opined that climate change is likely to impact natural resources and their capacity for supporting sustainable economic development. The use of dyes, disposal of waste textile products and burning of fabrics in the air could constitute health hazards.

4.10.5. Socio-economic importance

Ojude-Oba festival has the potential of constituting powerful marketing opportunities and a window through which Yoruba dress heritage will be sustained. It is not an understatement to project that it may turn out to be a national event for displaying an aspect of Nigerian culture. One of the major things that bind the Yoruba people is their dress style. A critical study of attires displayed in Ojude-Oba revealed a holistic presentation of Yoruba dress culture.

The festival also cheers up participants’ hearts, builds relations and development. The one-day celebration of culture and fashion is attended by over a million participants. The age group’s idea was to bring development and progress to the community.

4.10.6. Cultural preservation

Promotion of culture, fashion in vogue and competition are the major roles played by the dress used during the event. The message communicated by the dress includes status, prestige, beauty and aesthetics. It often makes every Ijebu indigene be on his track of hard work which in turn has the propensity of annihilating crime and unpleasant activities. Ojude-Oba is often longed for by the indigenes and their friends as it offers a moment of refreshing, recreation, and sharing goodies among groups and family members. The attires and outfits of all and sundry during the event ring a fashion bell of vogue to the Yoruba citizenry both at home and abroad.

4.10.7. Choice of dress and colours

The age group made their choice of dress based on the decision of the committee.² Some of the groups established a planning committee whose responsibility was to decide for the group. All the dress used during the festival was designed by fashion experts. Thus, it takes months to complete the design of the dress of a group. This system builds team spirit, unity and cooperation among members.

4.11. Benefits of the Ojude-Oba festival

A lot of benefits are enjoyed by the people of Ijebu land as a result of the planning and execution of the Ojude-Oba festival. These benefits extend to Ogun State and the nation at large. Although the festival aims at paying homage to the king, the Awujale of Ijebu-land, other benefits also accompany this event.³ Some are:

4.11.1. Development in Ijebu land and its environ

The Ojude-Oba festival is a forum of commitment to developmental projects in Ijebu-Ode. The age groups as well as notable individuals make commitments toward the progress and development of the land on the day of the festival⁴.⁵ As each age group pays homage to the monarch, they present their intention to contribute to the development of the community. This is usually approved and supported by the Awujale. Prominent among such developmental projects include charity services, presentation of gifts to motherless baby homes and hospitals, renovation of schools, provision of drinkable water to the community, and award of scholarships to the less privileged.

4.11.2. Boost in commerce and technology within and outside Ijebu

Notable commercial and technological industries in the country usually collaborate with the organisers of the Ojude-Oba festival as sponsors of the event.⁶ An example is the establishment of Glo phone networks in Ijebu Ode in the year 2003 before its extension to other parts of the nation. It has also offered employment opportunities to a lot of people in the community. Also, the First City Monument Bank Plc. extended their services to the Ijebu people. Buying and selling increase, and services of tailors, cloth merchants, food and drink sellers, transporters and other ad-hoc goods and services are well patronized. It is an opportunity for parents and family members to enjoy the company and substance of their relatives who have been away for up to one year or more. Indeed, a time of celebration and harmony for the Ijebu people. With these and other activities of members of the groups, commerce and technology are boosted in Ijebu- Ode and other parts of the nation.

4.11.3. Unification, reunion and strengthening of relationship among indigenes

Mbiti (1982) and Sote (2003) identified unity as one of the benefits of festivals. As an eyewitness to the event, women groups that had been at enmity were united back as they sang in the Yoruba dialect “ko s’ogun mo, ko s’ote mo, ija ti pari” meaning “no more war, no more fighting, the hatchet is buried”.⁷ This shows that there must have been struggling for supremacy among the age groups but resolved during the event of the Ojude-Oba Festival. It was evidenced that the meeting serves as an avenue for settling disputes and differences. Also, indigenes of Ijebu-Ode who have travelled out of the country usually travel back home for the event. They meet with old friends and relatives thereby strengthening existing relationships and building new ones.

4.11.4. Tourist attraction

The inflow of people from outside Ijebu-Ode in respect of the festival makes the town a notable centre of attraction. Each year, new participants and observers of the event flow in to witness the programme. Apart from the thousands of participants who witness the event yearly, those who are unable to attend watch the programme on the screen approximating the population of participants to millions. The event, therefore, promotes tourism in the land. The festival promotes a good appearance among the indigenes. It promotes love, unity and togetherness. It is an event that makes people forget their sorrows and go about with jubilation and excitement.

The fortunes of cultural tourism, however, received a great boost effect from 2003 as the hitherto ill-equipped and under-funded Tourism Board attained the status of a full-fledged parastatal with powers to revive and promote tourism. The state government envisioned tourism as a key to the socio-economic development of Ogun State and provided the template for tourism development in the state by ensuring a conducive environment, opening up roads, strengthening micro, small and medium-scale entrepreneurship and investing in a free trade zone and the construction of an international airport.

4.12. Challenges of the Ojude-Oba festival

People from different locations within and outside the country troop to Ijebu Ode town to witness and partake in the funs of the annual touristic event. This usually leads to overcrowding within the town during the event. People sit at the roundabout, on fences and on vehicles due to unavailable space. The main road is turned to places where people sit and spread their tents.

The Ojude-Oba festival comes along with transportation problems. Major roads leading to the town are usually blocked due to traffic congestion. Motor-bike appears to be the easiest mode of transportation during the event. The overcrowding and congestion during Ojude-Oba are capable of posing threat to the safety and security of participants. The festival promotes crimes and thuggery as different people with evil intentions flood and mixes with the crowd. People with guns and machetes also appear to fulfil their iniquitous acts. Though, undesirable, unscrupulous politicians seize the opportunity to execute their iniquitous plans on opponents

Other problems during the event include clashes among members of the age groups, grudges and rivalry, pick-pockets and extravagancies.

5. Conclusion

The dress tradition that characterized Ojude-Oba plays a significant role as it resuscitates and revivifies our dyeing culture of dressing in Yoruba land. The age groups dress in different fabrics to portray different impressions to their beholders. It helps in keeping up with the sustainability aspect of dress through the eco-friendly characteristics of fabrics used for the occasion. The sustainability of the dress used from 2015–2022 reflects social, environmental and economic characteristics. The event has brought tremendous progress to the Ijebu Ode and the entire nation. The special dress is used during the occasions and they have specific roles to play at such events. This has always been the tradition during the festival. It forms a basis for curbing indecent dressing and dress abuse.

6. Recommendations

The study recommends the sustenance and promotion of traditional dress. Government should give deserved attention to events that have a strong potential of attracting inbound tourists to enhance economic growth and development among Nigerians.

Basic rubrics of traditional dress design can be displayed as an art exhibition and fashion show during the festival. This will serve as a model to both the present and future generations to curb fashion abuse that is rife in Nigeria. The state and the federal government can harmonise resources to develop and transform the event into a national tourist attraction centre. Due to the inflow of observers and participants at the event, foreign participants can appreciate the rich cultural heritage of the Yoruba.

Better plans to upgrade the event to attain national and international reputes should begin in earnest. Developments such as a good transportation system, bigger venue, safer security, inclusion of more fun fair activities and international publicity are required. Our local textile industries should be strengthened for better production.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

I. J. Diyaolu

Diyaolu I. J. is a Senior Lecturer at Obafemi Awolowo University, Nigeria. He specializes in textile technology and sustainability. He joined a team to win the TETFUND 2020 grant for the development of a textile digital ecosystem. He is a member of the Textile Society of America.

T. M. Akinwumi

Prof. T. M. Akinwumi has taught textile, costume history and designs at various Nigerian universities. He has published many articles in reputable journals. His research focuses on the art historical and socio-cultural aspects of African textiles and clothing.

K. O. Adubi

Dr K.O. Adubi is an Associate Professor at the Federal University of Agriculture, Abeokuta. She specializes in resources management and extension which include community activities and its sustainability for development.

K. O. Bakare

Bakare K. O. is a professor at Obafemi Awolowo University, Nigeria. Her area of specialization is tourism and fashion entrepreneurship. She is a fellow of African Women in Agricultural Research and Development.

Notes

1. Interview with Mr. Opeoluwa Osisanwo in March 2023. He is a secretary to the Ojude-Oba organizing committee in Ijebu-Ode

2. Interview with Mr. Opeoluwa Osisanwo in March 2023. He is a secretary to the Ojude-Oba organizing committee in Ijebu-Ode

3. Diyaolu (2009).

4. Author, (2023) observation.

5. Otunba Adesanya Yusuf, Leader of Bobagunte male group, December 2021.

6. Interview with Madam Mojisola (57 years), March 2023.

7. Interview with Bobagunte female group.