The Mare Festival has returned to Idanre in Ondo State after a nine-year absence, with Governor Lucky Aiyedatiwa describing the event as a powerful symbol of cultural revival and youth expression.

Thousands of residents and visitors filled the ancient town on Tuesday night for the grand finale of the 2025 edition, turning Idanre into a hub of music, colour and celebration.

Governor Aiyedatiwa said the festival’s revival showed that Ondo State could embrace modern influences without losing its cultural identity.

He stressed that the state’s many indigenous festivals reflect its history, values and sense of belonging, describing culture as a unifying force across communities.

The governor said he was particularly impressed by young performers who blended rap and contemporary rhythms with the Idanre language, arguing that tradition can evolve without losing its essence.

According to him, the four-day festival also served as a platform for discovering new talents, alongside activities such as a marathon and entertainment events aimed at promoting social wellbeing.

He praised the conduct of attendees, noting that older youths protected younger participants, creating what he described as an orderly and mature atmosphere.

Encouraged by the turnout and discipline, the governor promised a bigger and more colourful Mare Festival in 2026, adding that his administration would work closely with the Ministry of Culture and Tourism to expand the event.

Why it matters

Cultural festivals are increasingly seen by state governments as tools for youth engagement, tourism development and local economic growth.

In Idanre, the return of the Mare Festival after nearly a decade has renewed community pride and drawn national attention to the town’s cultural heritage.

For residents and small businesses, such events often mean increased footfall, temporary jobs and renewed interest from investors in hospitality and agribusiness.

Government and cultural policy

Ondo State’s Commissioner for Culture and Tourism, Adesoji Afolabi, said the festival’s return reflected Governor Aiyedatiwa’s commitment to grassroots development and peace-building through culture.

He disclosed that the governor had approved the revival of four major cultural festivals shortly after assuming office.

These include the Mare Festival in Idanre, the Ilaje Boat Regatta scheduled for February at Araromi Beach, the Igogo Festival in Owo slated for September, and the Akoko Unity Carnival linked to Ebomi Lake in November.

Mr Afolabi said the Mare Festival had rekindled hope in Idanre and reaffirmed the relevance of tradition in a rapidly modernising society.

Tourism, roads and economic impact

The commissioner also highlighted the approval of a dual carriageway from Akure to Idanre, describing the road as a major boost for tourism and agribusiness.

Improved access, he said, would make it easier for visitors, farmers and investors to move goods and services in and out of the area.

Local traders at the festival told reporters that increased visitor numbers translated into higher sales and greater visibility for Idanre’s cultural assets.

Entertainment and public reaction

Afrobeats star Teniola Apata, popularly known as Teni Makanaki, headlined the event with a high-energy performance that drew loud cheers from the crowd.

Many attendees said the blend of traditional displays and contemporary music made the festival appealing to both older residents and younger audiences.

What’s next

Governor Aiyedatiwa said the state government would work to expand the Mare Festival into a larger tourism attraction in coming years.

Officials say future editions could include more cultural showcases, creative workshops and partnerships with the private sector.

The Otun Akile of Remoland and Chief Executive Officer of Adron Group, Sir Aare Adetola Emmanuelking, has praised the Akarigbo and Paramount Ruler of Remoland, Oba Babatunde Adewale Ajayi, for what he described as visionary leadership at the heart of Remo Day 2025.

He spoke as Remoland marked its second Remo Day, an annual celebration aimed at strengthening cultural identity, unity, and development among indigenes at home and in the diaspora.

In a goodwill message, Aare Emmanuelking said the celebration reflects the resilience and shared aspirations of the Remo people, adding that unity has remained central to the area’s social and economic growth.

“As a proud son of Remoland, I am inspired by the unity and sense of purpose that define our people,” he said.

Why Remo Day matters

Remo Day has emerged as a symbolic homecoming for indigenes, bringing together traditional rulers, political leaders, professionals, and youths to reflect on heritage and future development.

Aare Emmanuelking said the event goes beyond ceremony, honouring the sacrifices of past generations while reinforcing collective responsibility for progress.

He commended the Akarigbo for what he described as the stabilising role of the traditional institution in promoting peace, cultural continuity, and good governance across Remoland.

Governor’s presence signals political support

The business leader also welcomed the presence of Ogun State Governor at the event, describing it as a sign of solidarity with the Remo people.

He said the governor’s attendance underscored the state government’s commitment to inclusive governance and regional development.

According to him, policies introduced by the current administration have continued to shape infrastructure growth and economic opportunities across Ogun State.

Diaspora and economic contribution

Aare Emmanuelking highlighted the role of Remo indigenes living outside the region, noting that their investments and professional contributions have helped position Remoland as a hub of economic vitality.

Community development analysts say such cultural gatherings often encourage diaspora investment and strengthen local economies through networking and partnerships.

A cultural affairs expert, speaking generally on regional festivals, said heritage events can help mobilise private sector support and attract youth engagement when aligned with development goals.

What’s next for Remoland

Aare Emmanuelking called for sustained unity and collaboration among stakeholders, saying cultural pride must translate into long-term development outcomes.

He said deeper cohesion among indigenes would help accelerate sustainable growth across communities.

On behalf of his family and Adron Group, he wished the Akarigbo and Remo people a successful celebration and prayed for continued peace and prosperity in Remoland and Ogun State.

A centuries-old Yoruba oral tradition known as Ewi chanting is gaining global attention, as performers take the cultural art form to major platforms in Scotland and beyond, highlighting how migration is reshaping cultural expression worldwide.

Once rooted mainly in community gatherings across south-west Nigeria, Ewi chanting is now being performed on international stages, blending African heritage with modern spoken-word platforms.

Cultural scholars say the growing visibility of Ewi reflects a wider global push to preserve indigenous knowledge systems in a rapidly modernising world.

What is Ewi chanting?

Ewi chanting is a form of spoken-word poetry unique to the Yoruba people of West Africa.

It draws from folklore, mythology, genealogy and historical events, serving as a living record of Yoruba identity, belief systems and communal values.

Unlike written poetry, Ewi relies on memory, rhythm and oral performance, allowing stories of ancestry, bravery and spirituality to be passed from one generation to another.

Experts describe it as both entertainment and historical documentation.

The role of the Ewi chanter

In Yoruba society, Ewi chanters are regarded as cultural custodians.

Their performances are central to major life events such as weddings, naming ceremonies, birthdays and cultural festivals.

A defining feature of Ewi chanting is oríkì, a form of praise poetry that honours individuals, families and ancestral lineages.

To heighten audience engagement, chanters often combine spoken word with traditional drumming and orin ìlú (traditional songs), creating an immersive storytelling experience.

Ewi beyond West Africa

As Yoruba communities migrate, they carry their cultural traditions with them.

Ewi chanting has gradually gained ground in countries such as the United Kingdom, the United States and Canada, where it is now featured at multicultural events and on digital platforms.

For diaspora communities, the performances provide a sense of belonging and cultural continuity, while also introducing non-Yoruba audiences to African oral traditions.

Lighting up Scottish stages

In Scotland, Ewi chanting has begun to attract mainstream attention.

Spoken-word performer and Ewi chanter Omolara Seweje, popularly known as Olori Seweje, has played a key role in bringing the art form to wider audiences.

She has performed at high-profile events including The Black Scottish Awards, and has featured on Jambo Radio Scotland, exposing listeners to Yoruba oral poetry.

Through these performances, Ewi chanting is moving from community spaces into formal cultural institutions.

Digital platforms and younger audiences

Beyond live events, Ewi chanting is finding new life online.

Many chanters now share performances through Instagram, Facebook, X (Twitter) and TikTok, using short videos and live sessions to reach global audiences.

These digital performances often evoke nostalgia, reconnecting viewers with ancestral history and cultural identity.

What’s next

As global migration continues, experts believe indigenous art forms like Ewi chanting will play an even bigger role in cultural exchange.

For performers such as Olori Seweje, the goal is not just preservation, but evolution, keeping the tradition alive while adapting it for new spaces and audiences.

A living tradition

Ewi chanting is no longer confined to village squares or local ceremonies.

From West Africa to Scotland’s cultural stages, it continues to evolve, bridging continents, blending cultures and reminding global audiences of the power of spoken heritage.