CALABAR, HER PEOPLE AND HER CULTURAL HERITAGE

CALABAR is a city in the Cross River State, southern part of Nigeria. The original town was known as Atakpa from the Jukun words Ata and Akpa. The spelling Calabar remained till the British came and pronounced Calabar as Calabah. The neighboring town of Ataba took over the name and its Efik /Qua/Efut/Biase/Akampkpa indigenes became known as Calabar pronounced Calabah till this day. Calabar is a large metropolis today with several towns like Akim, Ikot Ansa, Ikot Ishie, Kasuk, Duke Town, Henshaw Town, Ikot Omin, Obutong, Bakassi, Biase, Akamkpa, etc.

THE BEAUTIFUL CITY OF CALABAR

THE PEOPLE OF CALABAR

Nigerians refer to the people that inhabit the River banks and the adjourning land of the Cross River estuary and creeks as "Calabars". They are the most hospitable people in Nigeria and even in African.

They are the most civilized by Culture and nature. WHat Nigerians call "The Calabar" comprise many ethnic nationalities (Ibibios, Orons, Efiks, Quas, Efuts, Anangs, yakurs,Mbembes,Ekoi, Ekets etc) with common heritage and ancestral roots  traceable to Central/southern African settlements with strong stains of ancient Egyptian residence and civilization.

They hosted the first Capital of Nigeria with great humility, that others are taking for granded and even  calling them names. A typical Calabar family always keep a spare room in their  home for visitors. Good food (Afang, Edikang Ikong, Ekpang iwe, iwuk abia, editan, Atama, Ndehi Iyak, Ifop Iwa, etc etc.) and hospitality (Ntimkama, uwem do ke TINAPA) abound and cannot be rivalled across africa.

Most loyal to friends, and loving to enemies. Always willing to help others in need. Peace loving even enough to loose their ancestral home (Bakassi) to the camerouns without violence, what a great people.

They have crude oil , yet no violence of any kind. they have taken to hardwork and enterprise to project the destiny of their land and not wait for oppressive (Major) majorities of the Nigerian state. No wonder they have excelled in so many ways above even the so called majorities by producing the first Plice IG Louis Edet, first commisioned Nigerian army officer (Sir Wellinton Bassey), first Governor of Central Bank (Dr. Clement Isong), first Nigerian Lawyer to be called to the queen's counsel and English Bar (late Chief Ebito) , Ministers, Governors, Teachers,etc etc.

Though, fourth largest Ethnic nationality in Nigeria, no one cares about their plight in the Nigerian state.

THE CALABAR CULTURAL HERITAGE

http://www.visitcalabar.com/calabar-culture.php

Calabar Culture

EARLY CALABAR HISTORY

The history of Calabar is one that comes with a feeling of sadness and happiness (Nostalgia). It is a tale of a land that was almost ripped dry by slavery, but managed to retain its culture and heritage. Calabar stands as a major trade location in Nigeria. It has a sea-port, airport, a free-trade zone and a host of other amenities that makes it a haven for investors and producers alike. With minerals like limestone, Calabar has attracted top investors like Dangote group and Niger Flour Mill.

Calabar came to prominence in the early 17th century due to the constant trade activity, also because it served as a major slave trade market. The earliest colonial masters in Calabar were the Portuguese who were attracted by the rich agricultural produce of the Efiks and the Ibibio, The Portuguese later gave the name “Old Calabar”. The name stuck until 1904. By the late 19th century, the grip of the Portuguese on the slave trade market, due to the increased british military forces. And consequently Calabar became part of the British colonial regime and served as the capital from 1885 to 1893. During the colonial regime Calabar lost some if its commercial significance because development in their neighbouring Port Harcourt made it a preferable Terminus. An estimated number of slaves that left Africa through Calabar was about 2.5 million (30%). Making Calabar the highest supplier of slave man-power in the whole of West Africa. Calabar also has one of the earliest military barracks.

Calabar Culture - MASQUERADING

Calabar culture embraces masquerades. In a continent like Africa where high value is placed on traditional and cultural heritage, masquerades is as old as time, hence the reason why Calabar culture is deeply involved with masquerading. It can never be better without the chants, song and dance display which adds the spice to what a true culture can offer.

Of course, the Efiks of the beautiful Calabar, Cross River State origin cannot be ignored in identifying with this rich display of traditional religion as its roots are deeply embedded in it. Occasions like the coronation of the Obong of Calabar, Chieftaincy, burial and other traditional events cannot be complete without the variant blend of the masquerades display.

The most unique and esteemed of all masquerades in the Efik culture is the Ekpe masquerade which comprise only the male folk is a rare sight to behold only on very special occasions.

CALABAR CULTURE - TRADITIONAL ATTIRES

Calabar culture is rich, the traditional attires worn cannot be over emphasized, it is detailed and has a unique blend of color variety. The female folks dress as royalty which is carefully displayed in their long flowing gown popularly known as “oyoyon”. This outfit cannot be complete without the traditional beautifully beaded shoes and colorful coral beads made to fit the neck, the head and hand bags.

True to the saying, what is good for the goose is good for the gander; their males are not left out. They combine a mix of the colorfully designed wrapper tied around their waist with a white shirt. As their females, they too use a beaded shoe, cap and the “Okpomkpom”, a long piece of cloth to adorn their necks.

ARTISTIC CALABAR CULTURE

Unlike other indigenous cultures practiced in Africa, Calabar culture records a high amount of women participation. This is well accorded to as they are naturally endowed with God given artistic foresight. The Calabash and Brass Carvings carefully decorated with the brass tray is still an integral part of the Calabar women’s culture. To ensure that the pride of this Calabar culture lives on, it is unavoidably handed down to younger generations.

The men engage in raffia and mat weavings, basket knitting, wood carvings and cane making to mention but a few. But what a man can do, indeed a woman can do better, the women are much useful in the beadwork decoration as it is evidently reflected in the shoes and handbag accessories.

The special chewing stick bag known as ”Ekpat Okok” cannot be ignored when describing the rich calabar culture.

This is only worn for local festivals and celebrations.

 This dress symbolises our people’s pride in their heritage and community traditions.

Our Efik women wear special attire known as “Onyonyo”. This is a flowing gown worn with coral beads adorning the neck, the wrist as well as ears. Some wear beaded shoes and berry beaded hand bags.

Traditional cosmetics found in our State are camwood, indigo, white chalk and tido (or usideli).

They are used to smoothen the skin and decorate the body, and women use tido (kohl) to decorate their eyes.

Our Efik men wear shirts or singlet’s  over a wrapper tied around the waist with a knot to the left.
The Ogoja men wear a singlet over shorts.

They then wrap a big towel called “Ugbagri”, (a piece of cloth almost as big as a bed sheet) around their waist and over their left shoulder. On the head they wear a long cap with stripes.

They also hang “Okpomkpom” (a long piece of cloth) around the neck and down the front.
Beaded shoes and caps are also worn in similar fashion.

TRADITION- FACE AND BODY PAINT

The body and facial painting with clay is a culture that has been with the Efik people from time immemorial. The clay is called Ndom. This exercise is done as a form of self expression and identity formation. Individual patterns where developed and recorded, and such patterns where only peculiar to the individual or family that developed it.

This exercise also symbolises purity and love. Maidens where apinted before their wedding, and nursing mothers where painted during their fattening periods.

Also facial painting is a way of telling people that the woman has been initiated in all forms of womanhood, especially after child birth and marriage. The Abang dancers usually adorn themselves with this painting to portray their beauty, love and femininity.