calabar carnival and the promotion of indigenous culture in cross river
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Calabar Carnival and the promotion of indigenous
culture in Cross River from 1999-2013. (Histor and
international studies!
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1.0 +ac,ground of stud
In a bid to develop cultural tourism in Nigeria, a number of
states of the Federation have recently developed carnivals in which
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they showcase aspects of Nigerian and popular cultures in street
performances. Cross River State, Rivers State, Lagos State, and the
Federal Capital erritory, !bu"a are at the forefront of this initiative.
Carnival Calabar in Cross River State is probably more popular than
the rest, "udging from the organi#ation, publicity, patronage, utilitarian
thrust and artistic profile of the carnival.
In terms of organi#ation, the carnival held every $% th and $&th
'ecember, it is run by a commission made up of technically
competent members who are either drawn from the performing and
visual art industry(academia or are connoisseurs of the arts). he
commission also collaborates with and draws technical manpower
from the well*established carnivals of rinidad and obago and Rio in
+ra#il. !s part of technical manpower development for Carnival
Calabar, worshops and series of interactive sessions have been held
over the years for creative personnel involved in costume production,
float construction, headgear production and other technical activities.
In $-)$, a detachment of a band from +ra#il participated in Carnival
Calabar probably to strengthen the technical partnership, while also
providing a different variety of cultural performance$.
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oreover, varieties of promotional "ingles are shown in
numerous national and international media networs prior to the
carnival. he ripple effects on the indigenous culture are remarable,
particularly in cultural dances, arts, local craft and musical
performances/. he thrust of the carnival appears to be utilitarian to a
large e0tent, and this feature is uni1ue. his is e0emplified in the fact
that every year, the carnival theme addresses a particular development
issue within society. he fact is that Carnival Calabar has been
developed to become a medium through which societal shortcomings
can be addressed2.
Carnival is define as a public celebration or parade combining
some elements of a circus, mass and public street party. Carnival,
creates room for organi#ation and e0pression of thoughts towards
improving the lots of the society. Carnival Calabar shares the burden
as a theatrical form to find lins and connections to all committed to
the power of theatre in maing a difference in the human life span
.he carnival is in the mould of applied theatre, about which creates a
practice that sees to debate vital issues and see those concerns
https://en.wikipedia.org/wiki/Celebration_(party)https://en.wikipedia.org/wiki/Paradehttps://en.wikipedia.org/wiki/Circus_(performing_art)https://en.wikipedia.org/wiki/Street_partyhttps://en.wikipedia.org/wiki/Paradehttps://en.wikipedia.org/wiki/Circus_(performing_art)https://en.wikipedia.org/wiki/Street_partyhttps://en.wikipedia.org/wiki/Celebration_(party)
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transformed into new stories, to provide people with a means to wor
their way through difficult periods.
he acclaim of the carnival also arises from the nature and
1uality of artistic display or performance. he carnival is an
assemblage of visual and performing arts displayed as costumes,
mae*up, dance, choreography, props, carnival float on wheels,
special effects and sound production. any of the presentations are
products of comple0 creations usually put together by groups of
artistic and technical personnel with the aim of depicting indigenous
culture3.
herefore, this study will e0amine Carnival Calabar and the
promotion of indigenous culture in Cross River State from )444 to
$-)/. he study systematically lays out the general themes of the
carnival through the period of study 5)4446$-)/7, and the band8s
interpretation using the float as an inde0 throughout the years under
review. he float is so chosen because it is the most dominant singular
visual art form in the carnival train and can be described as
ambulatory scenery that embodies the theme of the production in
aesthetic and functional units that depict indigenous culture.
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1.1 tatement of research problem
he Cross River State government has mapped out some
strategies to conceptuali#e and implement an integrated tourism
master plan that will give a uni1ue tourism flavor to visitors and
residents of the state. he uni1ue festivals and recreational facilities
that abound in the state have not been fully developed to international
standards and ade1uately utili#ed in order to enable them showcase
the rich tourism potentials of the area. his under development as in
the case of festivals and recreational facilities could be traced to
inability of both the government and private sector to invest
sufficiently in these tourism sub*sectors. his could also be lined
with inade1uate information on the tourism potentials that are
inherent in the development of festivals and recreational facilities. o
a large e0tent, little is nown about the vote of this festivals and
investment in recreational facilities in the development of tourism.
his study therefore e0amines the influence of Carnival Calabar on
the development of indigenous culture of Cross River state.
1.2 &bectives of the stud
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his research evaluates carnival Calabar and the development of
indigenous culture in Cross River State.
Secondly, the study systematically lays out the general themes
of the carnival through the period of study 5)4446$-)/7, and the
band8s interpretation using the float as an inde0 throughout the years
under review.
hirdly, to e0amine the effect of Carnival Calabar, on
organi#ation and e0pression of thoughts towards improving the lots of
the society.
Finally to provide a base for further research adding to e0isting
literature as well.
1.3 cope of stud
he scope of the study is narrowed down to Cross River State. Cross
River State is located in the southern part of Nigeria, It has )9 local
:overnment !reas richly endowed with wonderful indigenous
culture.
1./ ignificance of the stud
his study will be relevant to government, organi#ations,
communities and private individuals who are event managers. he
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findings of this study will enable government to mae policies that
will enhance the development of the carnival as well as create
enabling environment for the carnival to thrive. he study will also be
of importance to organi#ations to invest and maret their products
during the period of carnival. It will also help communities to
showcase their cultural heritage as well as develop them. Individual
will also have opportunity to display their talents and other theatrical
abilities during the carnival float.
1. Research ethodolog
he research wor employs a library based methodology as emphases
will be laid on primary sources to include;
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methodology, literature review, chapteri#ation. Chapter two gives a
detail account of the establishment of Calabar Carnival, chapter three
focuses on Carnival Calabar and socio*economic development, while
chapter four discuses the impact of Carnival Calabar on indigenous
culture and Chapter five will be conclusion, recommendation and
bibliography.
1.4 5iterature revie6
In recent times Festivals and events have been view by various
scholars as having a range host destinations, and they in most cases
are divided into economic, socio*cultural, environmental and political
impacts 5+augh, C., $--37. any researches on event has it main
focus on assessing the economic impacts of events with less empirical
research on socio*cultural impacts. =ven less attention has been paid
to environmental impacts of events. It has been observed that many
scholars have placed more emphases on the economic impacts partly
because of the need of event organi#ers and governments to meet
budget goals and "ustify e0penditure, and partly because such impacts
are most easily assessed. 5!gnes, >.,$--27
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Recently, it has been recogni#ed that the economic aspect alone
is insufficient, and awareness of the need to measure also the
intangible socio*cultural impacts has been increasing in recent years
5 aylor ?., $--37.he locals have most often been the interest group
that is taen into accounts. oday socio*cultural impacts of festivals
are very difficult to measure and as a result, some framewors and
scales have been developed to effectively evaluate their impact on the
people and the environment 5hompson, @.,$--)7
uch wor has been done in an attempt to develop standardi#ed
measures for economic and non*economic impacts of carnival events.
he lac of standardi#ed approach has limited the comparability
between events evaluation across economic, environmental and
socio*cultural criteria. =1ual emphasis must also be placed on
evaluating both event. 5+rocett,< and +all. R.,$--2.7
Recently, an attempt towards a holistic approach in impact
evaluation has emerged, and comprehensive wor has been done to
weave together all the different components of event evaluation into a
single framewor so that overall assessment can be made 5
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borrowed accounting and finance, and it brings together the social,
economic and environmental aspects of events into one framewor
5aylor, ?., $--%7.Bowever, many researchers have been conducted in
a global perspective but none has highlighted the cultural impact of
these two leading carnival events with specific reference to Cross
River State which is the gap in literature that this wor wish to bridge.
Carnival and culture have a whole lot in common. @ust lie
carnival is an integral aspect of human life, culture too is the totality
of human life and culture is seen in the eyes of carnival. Carnival is a
product of culture and one cannot do without the other. he centrality
of carnival to cultural sustenance of rinidad and obago has been
stressed in the various Carnivals, Calabar pre*event publications.
Bowever, these publications have opened a new window on
carnival, highlighting carnival as a space in which history as memory
and national heritage are continually being made and remade. his
e0plains why most countries that organi#e carnival do it in a way that
it can teach young people about their roots and culture; and one of the
best ways to teach young ones, is through the performing arts, as it
provides the avenue for young people not only to see physically
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socio(cultural features of their society, but it offers them the privilege
to practically e0perience the woring of their culture.
In the carnival and event brochure $-)-, in a bid to mae
carnival a cultural event, the former :overnor of Cross River State,
'onald 'ue has ensured that communities wor together to develop
stronger friendship and greater love for their respective cultures and
the other cultures of the world. 5Carnival, Calabar preview $-)-, /37,
declares that carnival is an art, and as an art, it offers as all dynamic
arts, the tool as self e0pression and e0ploration which helps us go out
in search for our roots which is our cultural heritage, and this
ultimately, helps us celebrate what mae us different from the rest of
the peoples of the world.
Carnival lie culture creates a sense of value and belief in
individual or the culture of a community. It helps the people to
appreciate what they have as a people, it enables visitors to interact
with the host community and helps the people en"oy and meet with
others. Carnival provides both the host community and visitors alie
with a uni1ue vibrant and valuable culture.
1.7 $heoretical frame6or,
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he Calabar Carnival is a tourism and a recreation pro"ect.
'emand as well as supply of recreational and tourism facilities is
directly related to higher living standards, higher income, greater
education, improvement in transportation facilities, political stability
longer vacations, etc. hese issues have been dealt with by many
urban and regional planners. In general, recreation and tourism are
viewed as service industries 5=glash, R., $--37. Ahat this means is
that not so much of economic benefits should be e0pected from it as it
is a bag of mi0ed blessings.
wo theories which have captured the place of tourism in the
development of third world economies are the functional approach
and the political economy approach 5Lea, )4437. he functional
theory according to artins 5$-))7 and as amplified by ?acer, A.
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element which involves the description of the impact of the tourist on
the economic, physical and social environment of his destination. he
functional approach is a model for looing at tourism as an
interconnected process or a system with inputs, and outputs, lins and
feedbac mechanisms. he functional view pays little or no attention
to issues of profitability, economic e0ploitation and ine1ualities
preferring rather to focus attention on how to provide a description of
the attributes of the industry in terms of the tourists, their destination
and various impacts.
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Calabar carnival, we may add the costume designers and a litany of
middlemen and women. he conse1uence is that a bul of the tourist
e0penditure is retained by the above cabal. In addition, these agencies
ensure that the tourist is confined to isolated enclaves separated from
most of the local population. !nd finally, the tourist pacage maes it
impossible for host countries to gain ade1uate control over their own
visitors. In fact this approach sees nothing economically or socially
beneficial in engaging in tourism. Rather it views tourism as an
e0tension of imperialism and a reflection of patterns of trading lins
and spheres of influence which must have been established over time.
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