Ibom Cultural Offerings


Editor‘s Comment:
This book by many treasured contributors is a modest beginning in a rather focused lens on lbom art forms crafts, but mostly the performative offerings of the rich culture of Akwa lbom State people of South South Nigeria. Culture, which among others, is a people’s way of life, indeed has its beautiful renderings to lbom people. In beliefs, practices and etiquette, morality and spirituality, motifs, arts and crafts, behavioural patterns, language and styles, songs, music, dance and theatre, marriage, coronation, burial, games and more. Culture has truly been most fair, perhaps a lot fairer than the size of the National Cake usually extended to lbom

The food culture (delicacies of super — creative varieties) of the lbom people, without prejudice, ranks tops in national I continental extraction, constitutes delightsome standouts in any assemblage. Choral presentations and that, with trado – musical accompaniments, often deafen those of their sister – genres from elsewhere (s). Drum orchestra of scintillating vibes and bouts — beginning with the rhythm — dictating cantor to the earth — shaking throbs of pulsating “eka ibid”, constitute rate — breeds in makes and essence (s). We could go on and on in our most modest cultural estimations or making mere attempts at listing the brands of culture’s generous offerings in lbom milieu. Yet, these offerings have not been given the research expressions that they genuinely deserve. A few attempts have been made, though, but really not commensurate with the sizable quanta of cultural endowments that are in daily manifestations, practices, in lbom universe. Reasons for these inadequacies are not worth the space of these comments as this fondest culture should deservingly be preserved, promoted and even showcased in packages of tourism delights.

It is in this context that the attempt in Ibom Cultural Offerings: art, crafts and performances, is rather tastefully fulfilling. For a first attempt, it does hold promises. The crew of contributors who “through faith and patience” have made representations here, are worth every ounce of appreciation. For, without them, the dream of… Offerings… in realizable expressions, might either have lingered on till now, or become day — dreaming. The publishers and all the hands on the saddle in the University of Cape Coast press, are equally, sincerely appreciated for the ‘extra’ professional touch accorded …Offerings… Last but not least, my Associate Editor, Effiong Ekpenyong does, in many ways, deserve to be the decorated if not costumed priest at this book’s baptism, because of his ‘mid -wife‘ role. When l was buffeted by many responsibilities that allowed me little time, he was there to do the necessaries. And when l changed my setting for a while, he did a yo — man’s liaison job, to keep track of the course of …Offerings…. project. Thanks a lot. Thanks for even the daily load of pressure — all in the good blood of fast — tracking the project’s progress. .
This book is heart — waming in its variety of art forms and performance — registers. An encounter with it will doubtless permit penetrations into the traditions, culture, arts and crafts of lbom people. Thank God for Udofot Jacob‘s contribution placed first in the collection for the obvious thrust of bearing illuminations to the nucleus of people identified as lbom people and their geographical boundaries. “Uto” a word that could betranslated “poetry”, “nke” — meaning “proverbs” and their performance “nature and contexts, are given explications. “Mbre” — a term that can mean “performance”, “games”, “enactments”, etc, dot the chapters‘ vistas with different strokes of creative paradigms.

In chapters two, five, seven, eight, nine to whet your appetite with just a few, these performances abound. Decor — motifs and raffia weaving both
make appearances in their cryptographs as some of the creative industries of Ibom people. Masquerades find space where the grooves were somewhat hideous, to gyrate in the same volume. Ekpo, Ekoon, and Ekpe are perfomatively discussed even if technically done, with “signs, “signifiers” and significations”. Children and women and even the Arts Council, are drawn into the performance square so that no one can be accused of marginalization or is it disenfranchisement?

More could still have been done, if perhaps, the bubbling desires of contributors had not neared eruption…Here we are then, with broad smiles on our faces, our hands holding the book as proof of its ultimate arrival and best of all our minds resting in fulfillment, that, Ibom Cultural Offerings: arts, crafts and performances, is a reality! We hope that this very humble start shall soon be shrouded with many beautiful siblings. Oh, me!
I’ve just looked at the sky and behold the full moon. What are we waiting for’?
Please, let’s get to the square for the apparent enjoyment that Ibom Cultural Offerings…promises to offer…
To God be the Glory
Elfong Johnson PhD
Professor of Theatre and Communication
(Directing and Aesthetics)


CHAPTER ONE: The People, Tradition and Culture ofAkwa lbom State by Dr. O.U. Jacob
CHAPTER TWO: Context and Perfomiance of Uto lbibio by Dr. Friday Okan
CHAPTER THREE:The Poetry and Content oflbibio Proverbs and the Global Knowledge Economy: A Study in Stylistic Criticism by Dr. Luke Eyoh
CHAPTER FOUR: Theatre Performance, Spectacle and Tourism Development: The Akwa lbom State Experience. by Dr. Ubong Nda
CHAPTER FIVE: Performing 50 Famous lbibio Proverbs and their Interpretations under the Full Moon by Professor Effiong Johnson & Dr. Effiong Ekpenyong
CHAPTER SIX: Adaptations of lbibio Decorative Motifs on Ceramic Waresby Dr. Ekwere Bassey
CHAPTER SEVEN: Women’s Use ofMusic for Protest and the Search for Identity Among the Annang and lbibio of Akwa lbom State of Nigeria by Dr. lme Ukpanah
CHAPTER EIGHT: Language and identity: The Nigerian perspective by Robert, Esther Ekom
CHAPTER NINE: Transgressing the Cosmos: lbibio/Efik Mythography in Video-films: A Study of “Akpan Ekwong ” and “Mutanda ” by EtopAkwang
CHAPTER TEN: lbibio/Annang Women Oral Performance by Dr. Uwemedimo Enobeng Iwoketok
CHAPTER ELEVEN: The Canoe Dance Theatre of the Niger Delta People by Dr. Ifure Ufford Azorbo
CHAPTER TWELVE: Sculpture in Celebration of “Mbopo” Culture of “Ibibio” Maiden Rite of Passage in Nigeria: Aesthetics and Psychological Nuances by Anthony Usiaholo Okonofua
CHAPTER THIRTEEN: A Semiology of Curvilinear Forms in lbibio Cosmology by Professor Udo Etuk
CHAPTER FOURTEEN: The Uko Akpan Traditional Theatre: Orientation, Training and Practice by Dr. Ofonirne Inyang & ldaresit lnyang
CHAPTER FIFTEEN: New Approaches to the Study of Poetry in Schools and Colleges by Dr(Mrs.)Antonia Dickson
CHAPTER SIXTEEN: Tradition and Modernity in Ebro Dance by Mr. lkike Ufford
CHAPTER SEVENTEEN: Roles and Paraphernalia in Ekpe Efik Performance by Dr. (Mrs.) Margaret Akpan
CHAPTER EIGHTEEN: Managing/his for Sensitization: The Case of the Akwa Ibom State Council for Arts and Culture by Dr. Tam Tam Azorbo
CHAPTER NINETEEN: Traditional Games As performance in Akwa Ibom Children’s Theatre by Dr. (Mrs.) Justina Nkanga , Clement Etim Ekong & Akaninyene John Sampson
CHAPTER TWENTY: Politeness as Performance: A Sociolinguistic and Cultural Analysis of Politeness Forms in Ibibio by Dr. (Mrs.)Juliet Udo Udom .

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