African Theatre And The Performance Space: Iboku Uruan Cultural Festival Of Akwa Ibom State In View Sapientia Global Journal of Arts, Humanities and Development Studies (SGOJAHDS), Vol.7 No.2 June
Main Article Content
Abstract
In the African society, the past have been kept alive for centuries through indigenous festival performances, which are peculiar to the people that celebrate it. Festivals represent the sociological desire of the people, social moral, historical and religious activities. This study is on the Iboku Uruan Cultural Festival as revived in the last three years. The Festival takes place at the Mbiaya Uruan in Uruan Local Government Area of Akwa Ibom State. It is an annually celebrated festival that is conceptualized to promote the rich culture of the people in celebration of the Ekpe Society by its members. The Ekpe Society is an ancient Secret Society of the Cross River State and Uruan/Oron People of Akwa Ibom State, which is saddled with the responsibility for the administration and organisation of the community and society at large. Historically, the society has been involved in social justice issues, while using its powers and influence to promote fairness and equality within the community. Its responsibilities go beyond Governance, with its functions ranging from establishment/formulation of societal morals and the regulation and enforcement of those societal morals. The Iboku Uruan Festival, as an African Theatre is performed in a secluded performance space as created by the member of the Ekpe society. This area is considered to be the heart of the Ekpe festival and is permeated with spiritual powers and energy. The circular arrangement reflects the cyclical nature of the Ekpe society and its relationship to the natural world. The Ekpe participation in the festival serves as a link between the living community members and their ancestors, who are believed to be present in spirit during the festival.
Downloads
Article Details
Issue
Section

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
How to Cite
References
Adelugba, D., Olu O. and Sola A. (2004) “Anglophone West Africa Nigeria”. In History of Theatre in Nigeria. New York; Cambridge University Press. Pp. 138-157.
Banham, M. (2012).History of theatre in Nigeria. New York; Cambridge University Press.
Brockett, O. and Robert J. (2024). The Essential Theatre (8th ed.) USA: Wordsworth Publishing Company.
Edem, E. (2018). The Promotion of Nigerian Arts and Culture through Festivals. Gaspro International Journal of Academic Research and Development. Vol. 4, No. 2. Pp. 80-91. Baden-Wurttemberg: Global Academic Stars Promoter.
Edem, E. (2019). Using Raffia as Costumes for Theatre Performances. Intercontinental Journal of Education, Science and Technology. No. 1, Vol. 3. Pp. 91- 97. Berlin: Global Academic Stars Promoter.
Effiong, J. (2023). Clan Head of Akpe Iboku/Etiongko Mkpe Uruan
Ekpo E, Emmanuel E. and Friday N. (2020). Lighting Beyond Illumination: The Creative Approach by Laide Nasir in the Performance of the Mammy Water’s Wedding. International Journal of Humanitatis Theorecticus, vol. 4. issue1. Pp. 208-221.
Eyo-Duke, J. (2024). Member of Ekpe Cult, Uruan Local Government Area.
Hunyadi, Z, Peter I. & Jonas Zoltan S. (2006). Festival World Summary Report. Kulturpont Iroda: Budapest.
Kenneth, E. (2013). “Aesthetic Considerations of Contemporary Nigerian Theatre Design and Technology”. Online Journal of Arts and Humanities.
Ojo, O. (2015). An Evaluation of the Dramatic Aesthetics of Emidin and Igbo Festivals of Omudookeekiti. A Thesis Submitted to the School of Postgraduate Studies, Ahmadu Bello University, Zaria, in Partial Fulfillment of the Requirements for the Award of A Master of Arts Degree (MA) in Literature.