Founder of Irie Vibes Fest, Lucia Ikediashi, has called for a strategic repositioning of Nigeria’s festivals as structured tourism products capable of driving economic growth, job creation, and global cultural appeal.
Ikediashi made the submission during her presentation at the Naija7Wonders Zoom Conference 3.0 themed “Festivals and Tourism in Nigeria: A New Pathway.”
She argued that while Nigeria boasts a large number of cultural festivals—estimated at over 850 according to Obi Asika—the country has yet to fully harness their economic potential due to poor packaging and limited focus on visitor experience.
“Festivals in Nigeria are not just celebrations; they should be money spinners,” she said. “People are not coming just because of the destination. They are coming for an experience.”
Ikediashi recounted her entry into the tourism sector through an international film festival, where she identified a gap in hospitality coordination, particularly the absence of airport logistics for foreign participants. She said her intervention in organizing transportation and guest management led to her eventual role in handling tourism and hospitality operations for the event.
Using examples such as Felabration, Ojude Oba Festival and Carnival Calabar, Ikediashi noted that festivals already attract both local and international audiences but require better structuring to extend visitor stay and increase spending.
She explained that curated experiences—such as guided tours, cultural storytelling, and excursions to nearby attractions—can significantly enhance the tourism value of festivals. She cited her experience organizing tour packages around Felabration, where visitors were taken beyond Lagos to Abeokuta to explore the heritage of Fela Kuti.
Ikediashi further stressed that festivals should be developed as ecosystems that support multiple sectors, including transportation, accommodation, fashion, food services, security, and sanitation.
Speaking on the economic ripple effects, she pointed to the Ojude Oba Festival, noting that activities such as the sale of Asoebi fabrics, hospitality services, and nightlife engagements generate income for a wide range of stakeholders.
Drawing comparisons with regional practices, she referenced a festival project she worked on in Busua, Ghana, where improved planning and curated experiences encouraged visitors to stay longer and spend more, thereby boosting local businesses.
Ikediashi also advocated for the integration of cultural and creative experiences such as food tours, local craft demonstrations, and visits to production sites for commodities like cocoa and shea butter, particularly during festivals such as the Durbar.
Highlighting her own initiative, Irie Vibes Fest, she said the event combines entertainment with public health advocacy by raising awareness and funds for cervical cancer screening.
She disclosed that the festival has attracted support from industry stakeholders and organizations, enabling free screening for women and creating opportunities for artists and creatives.
On policy and industry development, Ikediashi called for the creation of a national festival calendar to improve accessibility for tourists and investors, as well as the adoption of data-driven strategies to track attendance, spending patterns, and return on investment.
She also emphasized the importance of branding and merchandising in promoting festivals beyond their immediate locations, noting that well-branded materials can enhance visibility and global reach.
Ikediashi urged stronger collaboration between festival organizers and government institutions, revealing that her festival received endorsement from the Federal Ministry of Tourism, Arts and Culture.
She concluded that repositioning festivals as structured tourism products, rather than one-off events, is critical to unlocking their full potential.
“It’s not just about the place,” she said. “It’s about the experience and how it drives the entire ecosystem.”
