Culture
Why is Badagry a ghost town for tourists?
Published
3 years agoon
By
Lanre
Badagry, Nigeria’s most popular border town, is less than 60 kilometers from Port Novo and Cotonou, Benin Republic’s political and commercial capitals respectively. An ancient point of entry into Nigeria dating back to the slave trade era, since the 15th century, Badagry with all its historical recordings including many ‘firsts’ in Nigeria, remains a shadow and ghost town for both local and international tourists. An insignificant number is seen exploring the many monuments daily, monthly and annually, according to local tour operators.
We had gone on a humanitarian drive of encouraging prison inmates at the Badagry Custodial Centre on the invitation of Inmates Educational Foundation (IEF), a Nigerian non-governmental organisation dedicated to educating persons in Nigeria prisons for self and societal transformation. The IEF is founded and led by Mahfuz Alabidun, a Mandela Washington Fellow 2023. After our talks and donations to the five inmates, who were registered to take the General Certificate of Education (GCE) examinations, beginning this mid-November, we proceeded to explore Badagry.
Our first point of call was the Badagry Slave Market Museum International, the original site of Badagry slave market established in 1502, one of the earliest slave markets in the world, transacting about 300 slaves every five market days. Despite its gigantic structure, which was recently commissioned, the museum looked deserted by tourists as we were the only visible persons attending as at 3pm Nigeria time. In fact, Dolapo, the museum attendant and tourist guide, sped out of the entrance earlier on to welcome us as we alighted from motorbikes. When we arrived, we looked unsure if we were at the right place. Although the museum is newly built, less than two years old and began full operations in August 2022, the history and artefacts housed in the museum should be enough attraction for both local and international tourists.
From the Vlekete shrine to the trial of Richard Lander, the British explorer who visited Badagry in 1825 after Britain had abolished slave trade in1807, to the slave dungeon depository and the continuous story of slave trade in Badagry, until the last slave ship that left Badagry for Bahia, Brazil in 1888, Badagry Slave Market Museum International embodies colossal transatlantic slave trade history.
Less than 10 minutes walk from the Badagry Slave Market Museum International is the famous first storey building in Nigeria, built over 178 years ago and still standing with many of the original building materials intact. The building signifies the first church, school and bank where Nigerians began the first learning of Western education, Christian religion and how to save money and important documents. Amongst the few displays inside the building are the original Yoruba translation of the Bible by Bishop Samuel Ajayi Crowther, a captured slave, who later got freed and trained in Freetown, Sierra Leone through British intervention. The building built by Reverend Charles Gollmer, which is 44ft in length and 26ft in width, is estimated to cost £325 as of 1845 when the building was completed. The amount is equivalent to £48,731 today according to official data.
As we explore the streets of Badagry, Tolani Oni, a Mandela Washington Fellow 2015, Semasa Ojo, 2021 general secretary of the Young African Leaders Initiative (YALI) Lagos State Network and I, centered our discussions on the many tourism opportunities wasting in Badagry. The government and the private sector needed to take tourism seriously by investing not only in the tourist sites, but by consistent marketing, showcasing of the products,services through local and international channels. Also, other enablers include good road network, security; an important complement in attracting tourists, which will result in huge foreign exchange for the government and job opportunities for the locals.
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The contemporary art and photography exhibition “Wake Up!” is back again for a second edition.
Curated by Awele Onwordi, Wake Up! 2 exhibition pays homage to the Nigerian youth and burgeoning street culture which many of its contributing artists reference in their works.
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Titled “Young, Wild, Free”, the exhibition celebrates the creativity, resilience, freedom and cultural influence found in Nigerian youth.
Taking aim at societal issues and economic concerns, the exhibit reflects the youth and their refusal to compromise or bow despite all the challenges stacked against them while charting youth culture through art, music, fashion, skateboarding, photography and community.
The exhibition will be held, once again, at the Angel and Muse Gallery at 25 Sumbo Jibowu street off Ribadu Road off Awolowo Road in Ikoyi.
It will open on Saturday 5 September 2026 and will run until 11 September 2026
This second edition which focuses on celebrating, nurturing and exploring artistic practices rooted in youth and street culture will feature works from DENCITY and SUPERGLIDER HOUSE.
Exhibiting artists include Ajilore Kehinde – their work is deeply influenced by Nigerian street culture and works of other artists like Slawn, Peters Ejiro, etc, Chuka Onwordi – graphic designer who embodies themes of death, melancholy and beauty in his works, ZIDYEP – Abuja based creative whose works move between digital and physical spaces through art, graphic design and air brushing , Franklyn Okoye – graphic designer and artist whose works explore themes of identity and hyper-reality, Awele Onwordi – founder & curator of WAKE UP and multidisciplinary artist whose practice spans character art, creative logo design, album covers and more , Oluchi Kogolo – digital illustrator whose work explores street culture, personality and storytelling through a raw and playful visual style and Kozetuo Apeji – multidisciplinary artists who work explores experimental approaches to problem solving through both digital and traditional art forms.

Commenting on the exhibition in her curatorial statement, Awele noted that “despite economic instability, limited opportunities and socio-political challenges, Nigerian youth continue to shape culture through music, fashion, art, skateboarding, raves, photography and community.”
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Continuing and harping on the raison d’etre of the exhibition she said, “Young, Wild and Free exists to celebrate Nigerian youth while also creating a platform that supports and amplifies them.”
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