ÌTA ỌBA

Yusuf Dongo turns trash into treasure and waste into wealth through his work. The scrap metal has not changed, only adapted. Likewise, Nigeria’s Ijebu culture is still of value despite colonialism’s attempts to damage and render it worthless. By adapting how we approach Ijebu culture, we revive its international significance and make engagement more accessible. This is why Yusuf Dongo’s work is a vital addition to this year’s Ojude Oba, titled: ÌTA ỌBA.

ÌTA ỌBA is a metallic horse sculpture over 12ft tall, made from scrap materials and adorned with cultural symbols. It explores ideas of value through the lens of Yoruba history and celebration, namely the Ojude Oba Festival.

The Ojude Oba Festival started as ÌTA-ỌBA Festival before it metamorphosed. It is now one of Nigeria’s biggest festivals. During this Festival, prominent sons and daughters of the Kingdom parade on horseback with their families in colourful attire, paying homage to the King in the Palace. ÌTA ỌBA provides an entry point for fellow Indigenes as well as the wider Diaspora, to learn about the historical significance of horse riding in Ijebu Ode.

This synergetic masterpiece is a monument to the Ijebu, pioneer of Ojude Oba and the Balogun of Ijebuland, including the current Balogun Alusa. The Balogun fought against the British in 1892, and the sculpture features the relief portraits of two valiant warriors, Balogun Bello Kuku and Pa Asani Sote (Asotemaru omo Towobola, akesolubon, apere ija maye, eso dudu ibon e dudu, omo t'ori ogun wa s'aiye, omo t'ori ogun darungbon si, tiyomi tiyomi oko Segilola) all of blessed melody.

On the left side of the horse is the bust of the Paramount Ruler of Ijebuland, Oba Sikiru Adetona Agbatewole Ogbagba II, the longest reigning monarch in Nigeria. Among the Awujale and other significant icons and dignitaries, who have contributed greatly to the organising of Ojude Oba. There are also relief portraits of Otunba Michael Olasubomi, Michael Adenuga and Asiwaju Sulaiman Adebola Adegunwa, whom Ojude Oba cannot be mentioned without.

Cowries adorn the sculpture, representing Ijebu wealth and means of currency before colonialism. Ijebu Oriki says, "Ìjẹ̀bú tí ń ná owó dọ́là kí Òyìnbó tó dé, Kéré Ìjẹ̀bú owó ni, Àgbà Ìjẹ̀bú owó ni." And lastly, because Ijebu cannot be separated from the Alagemo, ÌTA-ỌBA features a metallic impression of the Alagemo Masquerade. Ijebu Oriki says, "Awon ni Omo Alágẹmọ mẹ́rindínlógún."

As an Indigene of the Ijebu Kingdom, Yusuf has created ÌTA-ỌBA to be a one-of-a-kind homage. It is the first (and biggest) contemporary upcycled sculpture in Ijebu Ode, contributing to the city’s aesthetic and social economy, and upholding its longstanding culture.

As an indigene of Ijebu, this masterpiece is my personal homage to our resilient culture—one that has endured the pressures of colonialism and globalization. By turning discarded materials into culturally powerful art, I challenge societal norms and reframe our understanding of value—not just materially, but culturally and historically.

ÌTA ỌBA is not just a sculpture. It is a statement, a story, and a symbol for generations to come.