Bibliographies: 'Calabar Festival'

1

Balogun, Bolaji Khidir, and Victoria Nkebem. "Host Community’s Perception on the Socio-Cultural Effects of Carnival Calabar Festival and Tourism Development in Calabar City, Nigeria." International Journal of Hospitality and Tourism Studies 2, no. 2 (2021): 149–59. http://dx.doi.org/10.31559/ijhts2021.2.2.6.

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This study examines residents’ perception of Carnival Calabar festival and tourism development in Calabar City, Nigeria. It intends to understand whether tourism development of the festival is commonly perceived as positive or negative in the city. A survey research technique was utilized for this study; thus, a total of 200 usable questionnaires were administered to the respondents in Calabar municipality. The findings revealed that, majority of residents have positive attitude about tourism. Findings revealed that pride in heritage, unification of the host community and employment opportunities associated to the event are the primary factors that influence tourism development of the festival. However, regardless of the general positive attitude accorded to tourism development of the festival, there are varying opinions by the residents on tourism influence in Calabar City. These opinions are largely influenced by the perceived benefits from tourism related activities. The results of this study contribute to the data for the management and sustainable development of festivals for tourism in Africa.

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Yta, Edisua Mbrab. "Objectification of women in carnival Calabar: an emerging paradigm." International Journal of Humanities and Innovation (IJHI) 3, no. 2 (2020): 79–86. http://dx.doi.org/10.33750/ijhi.v3i2.78.

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A trend that is developing in Carnival Calabar is the objectification of women. Carnival Calabar is a festival that brings families together. Most of the participants are young people. What messages is Carnival Calabar selling to its various publics and what influence do these messages have on the young population? To answer these questions, two descriptive methodologies were employed in this study. The first was content analysis which comprised of pictures, participant observation and on-site participatory interviews. The second was the survey which comprised of focus group discussion. The following findings were made that the Carnival Calabar nude images portray women in her traditional role and sexual appeal to men. Secondly, Carnival Calabar's sexualized images often make girls lose their self-esteem. It is recommended that Carnival Calabar develop its unique brand of Carnival without following the Caribbean and other nations' models which one of its distinctions is parading nude female bodies. Carnival Calabar content should portray women constructively and in a wider variety of positive roles. It is recommended that more women should be involved as scriptwriters, producers, designers and in the position of decision making within the state’s tourism industry to influence the messages of women portrayed in Carnival Calabar.

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Endong, Endong, and Floribert Patrick C. "Nigerianess versus Foreigness in the Calabar Festival and Carnival Calabar." International Journal of English, Literature and Social Science 2, no. 3 (2017): 4–15. http://dx.doi.org/10.24001/ijels.2.3.2.

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4

DR. AHAM IKWUMEZIE, PROF. COSMAS C. ALUGBUO, DR. (MRS.) CHIGOZIE UGOCHUKWU OKORO, and DR. POLYCAP IGBOJIEKWE. "Measuring the contribution of specific cultural festival to growth of Nigeria’s GDP through average tourists spending." International Journal on Integrated Education 3, no. 12 (2020): 7–15. http://dx.doi.org/10.31149/ijie.v3i12.905.

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Tourists spending behaviours play major role in the potential of cultural festival to create forward linkage with other indicators of the gross domestic product (GDP). This study focused on evaluating tourists spending behaviour on the different types of cultural festivals in Nigeria to determine their direct, indirect and induced effect on each naira of direct sales and number of jobs supported. A total of 9,984 respondents were surveyed across six states (1,664 in each state). We employed Stynes fairly complete micro-computer-based system for estimating economic impacts of recreation and tourism; and the money generating model (MGM) in the data analysis, to estimate the direct and total sales, marginal earning on each naira (income) and employment effects of tourists’ spending on state and local government revenues. At α = 0.79 we found that earning on each naira of tourist spending at the Igue cultural festival Benin city, the Riye musical festival Abeokuta, the Ofala cultural festival Onitsha, Calabar carnival, Calabar, the Kwagh hir Masquerade festival Makurdi and the Arugungun fishing festival Gusau in that order added 61 kobo, 61 kobo, 62 kobo, 89 kobo, 30 kobo and 30kobo respectively in secondary effect or induced effect. In the same order, the multiplier effect of the spending supported 2 local jobs; 2,700 local jobs; 400 local jobs; 27,000 local jobs; 15 local jobs and 21,850 local jobs respectively in the respective states. The study recommends the need to measure tourists spending within well defined categories to identify not only the kinds of products and services being purchased and the types of businesses directly receiving these funds but to also identify the sectors receiving the spending. This is important as it ties changes in tourists spending to a regional economic model.

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Hackett, Rosalind I. J. "From Festive Sacred to Festive Secular? Indigenous Religious Presence in Two Nigerian Festivals." Numen 69, no. 4 (2022): 341–89. http://dx.doi.org/10.1163/15685276-12341663.

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Abstract This article explores the modern-day festival as a timely site for analyzing the politics of indigenous cultural and religious presence in postcolonial and neoliberal Africa. Focusing on the ancient Osun Osogbo Festival and the newer Calabar Carnival and Festival in Nigeria, it raises broader questions of how indigenous religion gets reframed as culture, heritage, and tourist commodity for local, national, and international audiences. Attention is paid to the multiple debates over festival content and representation in the context of local political, economic, and religious interests. The article ultimately makes the case for more comparative research on what may be termed the “festivalization of religion” and how this development relates to questions of “public religion” and “civil religion” in the contemporary African context.

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6

Odere, Felicia Ebeyin, and Felix Ojong. "The socio-economic importance of Calabar Carnival on the economic development of Cross River State." Integrity Journal of Arts and Humanities 2, no. 4 (2021): 77–85. http://dx.doi.org/10.31248/ijah2021.037.

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The study investigates the socio-economic importance of the Calabar Carnival on the economic development of Cross River State, Nigeria. To establish the relationship between the festival and the development of Cross Rivers State, hypotheses were formulated based on the identified major independent variables namely: employment creation, income generation, and infrastructural development while the dependent variable is the Calabar Carnival Festival. Literatures related to the major variables of the study were reviewed. To generate data for hypotheses testing, questionnaire was used; survey research design was adopted for study while utilizing the convenience sampling technique to select the respondents (300) for study. The generated data were statistically tested at a 0.05 level of significance using Pearson Product Moment Correlation Coefficient analysis. The analysis showed that the Calabar carnival has significant relationship with job creation, income generation, and infrastructural development in Cross River State. Based on the result of the findings, the study recommended the need for tourism industry be fortified with security and as well be privatized. Also, the study recommends that youth development should be a cardinal point in the carnival as a promotional strategy in other to accelerate the state's socio-economic development.

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7

Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." Jurnal Office 6, no. 1 (2020): 71. http://dx.doi.org/10.26858/jo.v6i1.15008.

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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.

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8

Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." PINISI Discretion Review 4, no. 1 (2020): 73. http://dx.doi.org/10.26858/pdr.v4i1.14790.

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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.

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9

M. E, Edim,, and Osaji, N. N. "Perception of Economic and Environmental Impact of Christmas Festival/Calabar Carnival in Calabar Metropolis of Cross River State, Nigeria." IOSR Journal of Sports and Physical Education 1, no. 5 (2014): 01–04. http://dx.doi.org/10.9790/6737-0150104.

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10

CAÑADA RANGEL, BENITO, and JOSÉ LUIS CRESPO FAJARDO. "Instrucciones para la vida. Entrevista a Lucía Calamaro." Tsantsa. Revista de Investigaciones artísticas, no. 12 (December 27, 2021): 77–80. http://dx.doi.org/10.18537/tria.12.01.08.

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Lucía Calamaro es actriz, directora y dramaturga. Aunque nació en Roma, a su adolescencia viajó a Montevideo con su familia, por el trabajo de su padre como diplomático. En Uruguay inició su formación teatral, que prosiguió en la Universidad de la Sorbona, donde fue discípula del mimo Jacques Lecoq. Asimismo, junto al sociólogo Jean Duvignaud y Jean-Marie Pradier es cofundadora de la Etnoescenología (disciplina centrada en el estudio comparativo de actuaciones en vivo). En Roma obtuvo un posgrado en Dramaturgia Antigua y Versificación. Allí funda la compañía Malebolge, ensayando en pequeños teatros y centros sociales. Nacen así sus primeras obras: "Tumore", de gran profundidad poética. Y luego, Autobiografía de la vergüenza. A partir de su siguiente proyecto, “El origen del mundo”, empieza a ser más conocida, siendo esta obra retransmitida en versión radial, en Radio 3 Rai y en France Culture. El origen del mundo, en efecto, recibió tres Premio Ubu, y el Premio Enríquez de dirección. También con La vita fermi fue finalista al mejor texto en los premios Ubu, y en 2019 ganó el premio Hystrio de dramaturgia. Este año ha sido nombrada presidenta del jurado del Premio de Teatro de Riccione, y también creó este año la escuela de dramaturgia “Escritura”, en colaboración con importantes teatros italianos, la cual dirige. Asimismo, su obra Darwin inconsolable (una pieza para las almas en dolor), debutó en el Festival dei Due Mondi en Spoleto, en este 2021.

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Academic literature on the topic 'Calabar Festival'

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