As conversations at the Naija7Wonders Zoom Conference 3.0 continue to redefine Nigeria’s tourism narrative, the spotlight has turned decisively toward festivals as viable economic drivers. Under the evolving theme,
“Festival and Tourism (In Nigeria: A New Pathway),” industry stakeholders are rethinking how cultural heritage can be transformed into structured tourism products. One of the standout voices in this dialogue was Faridah Sagaya, who brought both practical experience and cultural insight into the discussion.
Introducing herself as the CEO of Angel Style World Travel and Tours Limited and Director of Commercial and VIP Relations for the Ilorin Durbar, Sagaya positioned the festival as a compelling case study for Nigeria’s untapped tourism potential.
She described the Ilorin Durbar as more than a cultural event, emphasizing its identity as a unifying force rooted in history and diversity.
“Ilorin is a gateway between the North and the South,” she explained. “You have the Fulani, Hausa, Yoruba, Nupe, Baruba, all living together. That is why Kwara is called the State of Harmony.”
Held annually during the Eid celebrations, the Ilorin Durbar brings together traditional rulers, horsemen, cultural groups, and residents in a vibrant procession that reflects both heritage and continuity. For many indigenes and diaspora communities, it serves as a homecoming.
“It’s a bridge between generations,” Sagaya noted. “People come back home for Eid, and it becomes a time of reunion, celebration, and cultural pride.”
READ: Africa: Festivals Must Be Repackaged as Tourism Products in Nigeria– Lucia Ikediashi
Beyond its cultural significance, Sagaya highlighted the festival’s growing economic impact. Like many large-scale cultural events, the Durbar stimulates multiple sectors, from hospitality and transportation to fashion, photography, and local commerce.
“Everybody is sewing for Salah, people are hosting visitors, and businesses are thriving. It encourages spending across the board,” she said.
According to her, the Ilorin Durbar has the potential to stand alongside globally recognized heritage festivals if properly structured and promoted. She pointed to the broader tourism opportunities within Kwara State, including visits to Dada Pottery, the Owu Waterfall, one of the tallest in West Africa, and local industries such as shea butter production and traditional cuisine.
“When people come for the Durbar, they can explore so much more. It’s not just the festival; it’s the full experience,” she added.
However, Sagaya was clear that realizing this potential will require deliberate effort. She identified limited marketing as a major barrier, noting that the Ilorin Durbar remains largely unknown even within Nigeria.
“It’s a hidden gem. Many people have never heard of it. We need to project it globally,” she said.
She also pointed to funding constraints as a critical challenge, explaining that festivals require sustained investment in logistics, security, infrastructure, and visitor services.
“These events don’t run on passion alone. We need proper funding for planning, crowd management, emergency response, and overall experience,” she stated.
Sagaya further emphasized the importance of professionalizing festival management, including improvements in venue organization, parking systems, and health and safety readiness. While progress is being made, she acknowledged that more work is needed to meet global standards.
Another key area she highlighted was youth engagement. According to her, the long-term sustainability of festivals like the Durbar depends on actively involving younger generations—not just as attendees, but as contributors.
“They need to be part of the planning—as creatives, storytellers, designers, and organizers. They are the future custodians of this culture,” she said.
She also called for stronger collaboration across sectors, stressing the role of government, private investors, diaspora communities, and tour operators in building a more cohesive tourism ecosystem.
“Tour operators need to package these festivals better. We need partnerships to create something that can compete globally,” she urged.
In addition, Sagaya underscored the need for better documentation and data collection, noting that structured records of attendance, visitor behavior, and economic impact are essential for attracting investment and scaling operations.
“There is history, there are stories; but they need to be properly documented and organized,” she said.
Her contribution aligned with a broader consensus emerging from the conference: Nigeria’s festivals are rich in cultural value, but their economic potential remains underutilized due to gaps in coordination, marketing, and infrastructure.
As the Naija7Wonders Zoom Conference 3.0 progresses, discussions like Sagaya’s are helping to shape a more intentional approach to tourism development—one that positions festivals not as isolated celebrations, but as integrated platforms for growth.
With the Ilorin Durbar as a reference point, the message is clear: Nigeria has the cultural assets to compete globally. The next step is to package, promote, and manage them in a way that delivers lasting value for both communities and the wider economy.
Sam Opoku
