Countdown To Egungun Oba L’ode Oyo 2026The Uniqueness Of Oyo Traditional Religion (2) | By Bode Durojaiye
“” Unlike in some towns with weak traditional institutions ,eroding communal values, and vanishing protections, where drug abuse, cultism, and violent masculinity walk in raffia, hidden behind carved wooden masks, with rogue masqueraders declared wanted, and unmasking them in public, and even arresting their handlers, Oyo Egungun symbolise the spirit of the ancestors, and not a proxy for modern violence””.
From oral tradition, Egungun was not created by a single Alaafin alone, but rather emerged in the royal court of the Old Oyo Empire through a collaboration between a Royal Queen Mother, Erubami Abimbowo, and the Chief of carvers, Eesa Ogbin Ologbojo.
This monumental creation and the first official masquerade ensemble were established during the reign of Alaafin Abiodun Adegoriolu (who ruled from 1770 to 1789).
Masquerade in Oyo town is an annual cultural festival holding between June and July . This high-energy celebration is vibrant sight to behold, constantly sparking awe, wonder and mystery among onlookers and participants.
People joyfully embrace the Egungun during the vibrant celebration of the cultural festival, a cherished tradition honouring ancestral spirits in Yoruba culture
Egungun faithfuls focus on the traditions of their predecessors and maintain the reputation of their lineage.
Oyo Egungun costumes are made with high-quality disparate fabrics which are mostly locally woven but evolved over time due to readily available mass-produced fabrics which are considered to facilitate the costume making process. The costumes contain metal, beads, leather, animal skin, bones, and potent empowering materials and are usually colourful, baggy and cover all parts of the figure, leaving no area exposed.
The colourful nature, the baggy appearance, the fanciful nature of dress and the outlay of Oyo Egungun is borne out of its core genesis, traditional richness and cultural flamboyance that best portrays the beauty and liveliness of culture, tradition and heritage.
The Egungun figures have a bold and fiery outlook that creates an impression of a god/ancestors-like image on earth. No wonder in the ancient City, appearance and state of spiritual relevance earn the Egungun the title “Ara Orun kin kin” which means: “A Member of the celestial order.”
The fabrics chosen for the festival are literally of the highest standard and must be the best quality readily available. They include sequins, damask, velvet, Indian madras, silk, printed cotton and linen.
The Egungun in Oyo are central to justice, moral instruction, and celebration.
They come out during the festival not to terrorise but to remind. Their presence invoke awe, not fear. Their whips are symbolic, not for inflicting broken bones.
Unlike in some towns with weak traditional institutions ,eroding communal values, and vanishing protections, where drug abuse, cultism, and violent masculinity walk in raffia, hidden behind carved wooden masks, with rogue masqueraders declared wanted, and unmasking them in public, and even arresting their handlers, Oyo Egungun symbolise the spirit of the ancestors, and not a proxy for modern violence.
Oyo Egungun are sacred intermediaries between the physical and spiritual realms, who play profound roles in governance, morality, entertainment, and the enforcement of community norms.
The sacred mystique is neither under siege, challenged by modernity, political manipulation, and disturbing cases of criminal abuse, let alone theatre or frivolous fun.
Oyo Egungun are integral to communal life, embodying the spirits of ancestors, deities, or cosmic forces.
What is more, checks among Oyo Egungun are not weakened, just as the costumes cannot be worn without oversight because there is a body called Igbimo Oloje ( a body for the regulations of Egungun ) led by its Chairman for the Oyo Metropolis and the pace- setter State, Chief Ojebode Bamidele.
This enables Egungun performances not to spill into unregulated spaces, streets, markets, mosque, and church fronts. Also, what begins as celebration does not become confrontational, with innocent residents flogged, extorted, or, assaulted.
Oyo Egungun are not tools for settling personal scores, as the Igbimo Oloje are watching tradition and not its ghost. Oyo Egungun is central to ancestor reverence.
It is not just a dancer but a vessel of ancestral power, acting as judge, oracle, and entertainer. Its appearance mark an important seasonal festival and provide moral guidance to the living.
IIT will be recalled that the Alaafin and the Paramount Ruler of Oyo Kingdom, His Imperial Majesty, Oba Engineer Abimbola Akeem Owoade 1, had, while declaring this year’s Egungun festival open at the ancient Palace, issued a strict zero-tolerance warning to the Egungun and their followers against violence, assault, and public disturbance.
Oha Owoade stated that Egungun is culturally revered, but using it as a disguise for extortion, carrying weapons, or harassing citizens will lead to arrests and prosecution.
According to him, “” festivals must not be used to settle old scores, attack opponents, or display dangerous weapons like machetes and broken bottles””.
Violence , he pointed out, severely tarnishes the reputation of cultural festival.
To be continued…….
Bode Durojaiye is the Director of Media and Publicity to the Alaafin, Paramount Ruler of Oyo Kingdom, and the Superior Head of Yorubaland.
