Home / Theatre Art / FUNCTIONS AND RELEVANCE OF COSTUME IN NGWAS EKPE FESTIVAL

FUNCTIONS AND RELEVANCE OF COSTUME IN NGWAS EKPE FESTIVAL

 

Table Of Contents


Chapter ONE

1.1 Introduction
1.2 Background of Study
1.3 Problem Statement
1.4 Objective of Study
1.5 Limitation of Study
1.6 Scope of Study
1.7 Significance of Study
1.8 Structure of the Research
1.9 Definition of Terms

Chapter TWO

2.1 Historical Evolution of Ngwas Ekpe Festival
2.2 Cultural Significance of Costume in Ngwas Ekpe Festival
2.3 Traditional Practices and Rituals of Ngwas Ekpe Festival
2.4 Symbolism and Meaning of Costume in Ngwas Ekpe Festival
2.5 Role of Costume Designers and Artists in Ngwas Ekpe Festival
2.6 Influence of Modernization on Costume in Ngwas Ekpe Festival
2.7 Economic Impact of Costume Production in Ngwas Ekpe Festival
2.8 Documentation and Preservation of Costume in Ngwas Ekpe Festival
2.9 Comparison of Costume in Ngwas Ekpe Festival with Other Cultural Festivals
2.10 Future Trends and Innovations in Costume Design for Ngwas Ekpe Festival

Chapter THREE

3.1 Research Design and Approach
3.2 Sampling Techniques and Participants
3.3 Data Collection Methods
3.4 Data Analysis Procedures
3.5 Ethical Considerations in Research
3.6 Research Limitations and Challenges
3.7 Reliability and Validity of Research Findings
3.8 Research Timeline and Budget

Chapter FOUR

4.1 Overview of Research Findings
4.2 Analysis of Costume Designs in Ngwas Ekpe Festival
4.3 Participant Feedback and Observations
4.4 Cultural Preservation Efforts through Costume
4.5 Economic Sustainability of Costume Production
4.6 Innovations and Modern Adaptations in Costume
4.7 Challenges Faced by Costume Designers
4.8 Recommendations for Future Costume Development

Chapter FIVE

5.1 Summary of Research Findings
5.2 Conclusion and Interpretation
5.3 Implications for Cultural Heritage Conservation
5.4 Contributions to Costume Design Industry
5.5 Areas for Future Research

Thesis Abstract

Abstract
Costume plays a significant role in the Ngwas Ekpe festival, serving both functional and symbolic purposes. This research project aims to explore the various functions and relevance of costume in the Ngwas Ekpe festival, a traditional celebration of the Efik people in Nigeria. Through a combination of ethnographic research, interviews with festival participants, and analysis of historical sources, this study seeks to provide a comprehensive understanding of the role of costume in this cultural event. The Ngwas Ekpe festival is a complex cultural phenomenon that encompasses various rituals, performances, and ceremonies. Costume is an integral part of this festival, as it helps to distinguish different roles and characters, convey symbolic meanings, and create a visual spectacle for participants and observers. The costumes worn during the Ngwas Ekpe festival are often elaborate and meticulously designed to reflect the cultural heritage and values of the Efik people. One of the key functions of costume in the Ngwas Ekpe festival is to differentiate between different social groups and roles within the community. Participants wear specific costumes that correspond to their status, gender, age, or role in the festival. These costumes serve as visual markers that help to organize and structure the performances and rituals that take place during the festival. In addition to its functional role, costume in the Ngwas Ekpe festival also carries symbolic significance. The designs, colors, and materials used in the costumes often have cultural, spiritual, or historical meanings that are understood by members of the community. Through the careful selection and arrangement of costume elements, participants in the festival can communicate complex messages, narratives, and values to each other and to the broader audience. Furthermore, costume in the Ngwas Ekpe festival contributes to the overall aesthetic experience of the event. The vibrant colors, intricate patterns, and dynamic movements of the costumes create a visually captivating display that enhances the festive atmosphere and engages the senses of participants and spectators alike. Overall, this research project seeks to shed light on the multifaceted functions and relevance of costume in the Ngwas Ekpe festival. By examining the intricate relationship between costume, culture, and performance in this traditional celebration, this study contributes to a deeper understanding of the role of costume in shaping identity, fostering community cohesion, and preserving cultural heritage.

Thesis Overview



Nigeria offers variety of festivals with sound and rich cultural heritage. The evidences of these festivals are
found in all the geo-political zones in the country which serves as veritable instruments of national integration,
peaceful co-existence and cultural possibilities.
A number of cultural activities exist in Nigeria, which create unique creative spaces for producers of the arts as
well as conducive interactive spaces for tourists and connoisseurs. Many of these cultural activities have been in
practice from time and have given the country an acclaim as being culturally super-active. The cultural activities
in Cross River State are particularly outstanding from those in many other states of the federation as they
showcase diverse creative packages. The state is renowned for its festivals of songs, dances and masquerades at
coronation, marriage, burial, naming, planting and harvesting ceremonies. Cross River State is also popular for
its hospitality and its culinary productivity – many Nigerians would want to have a taste of ‘Calabar’ food.
Tourists also like to visit the numerous cultural and historical sites in Cross River State. While these ceremonies,
tourism potentialities and locations have ever been present with the people of Cross River State in Nigeria, not
much was done to formalize and organize their presentation to diverse international audiences until the year
1999. The administration of Donald Duke at the inception of Nigeria’s 4th democratic era evolved a dynamic
policy to develop the tourism sub-sector as an area of alternative revenue for the state. Part of the plan was to
develop a rich tourism calendar to accommodate more (existing) cultural events and in some cases rebrand and
repackage them for better appeal. The plan was also to accommodate new events that would appeal to the
emerging consumerist culture of the 21st century. So, in all parts of the state there are cultural festivals and
artistic practices that appeal to diverse audiences. There is mountain tourism and recreation in the mountainous
region of Obudu; there are new yam festivals in the agricultural belt; maiden outing ceremonies, water sports
and other art-related events in many communities of the state.

2.1 THE CONCEPT OF COSTUME
Costume is part of actors’ apparatus. It refers to all clothing an individual performing wears in a show, festival or
movie. In a broader sense, costume can be applied in many kinds of performance or media like drama and
dance. The orchestra players wearing white shirt and black suit to perform in the concert hall, they are also
wearing ‘costumes Theatre, television and movie are the medium often showing costume.
Indeed, costume is not garment merely. Jeffrey Kurland (2004), the governor of Motion Picture Arts and
Sciences, claims that “costume dominate the foreground action throughout a film, shaping the characters and
thus helping to move the story forward with what one could describe as the visual narratives”. This explanation
fulfills the basic definition of costume. Everything wears by the actor will count on costume? This is another
issue, to distinguish the accessories belongs to props or wardrobe is quite confused. Nevertheless, costume
designer is often much more tend to practical-oriented. The main purpose of wearing costume is to shape and to
enhance the character. Costume is not meant to cloth. Unlikely to fashion, costume is not need expensive to
show how glamorous or fabulous of the people who wear it. Costume is needed to have such glamorous feeling
on screen but it could cost not much. This explains the apparent difference among both of them.
Fashion works on our three-dimensional world but costume is not; film Costume visualizes the actor and helps them to create their character. There are three key qualities in designing the film costume. Color shows the mood and taste; texture shows the economic status; and style shows personality and occupation. Audience get signal from the costume by the shape and color that can be revealed as welcomed or feared. A good costume is able to show the mentality of the character


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