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
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.
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.
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.
