ATTENTION:
BEFORE YOU READ THE
PROJECT WORK, PLEASE READ THE INFORMATION BELOW. THANK YOU!
TO GET THE FULL
PROJECT FOR THE TOPIC BELOW PLEASE CALL:
08068231953,
08168759420
TO GET MORE PROJECT
TOPICS IN YOUR DEPARTMENT, PLEASE VISIT:
MIX-MEDIA
IN SCULPTURE (A CASE STUDY OF EDE-ANO FESTIVAL IN ABAGANA, NJIKOKA LOCAL
GOVERNMENT AREA)
PREFACE
Ede-aro
festival of Abagana has remained unknown to many people for just for the fact
that well known authors have not taken proper insight on the works and cultural
heritage of the people of the area. I developed the interest in carrying out
this research project on this topic when I realize that nothing has been done
on the Ede-aro festival in Abagana.
A
town that cannot properly recall its historical past may not be able to define
its stand today. Since then, it has been my intension to find out about the
trend of Ede-aro festival and its implications on the community life.
For
organizational convenience, this research project is divided into six different
chapters. Chapter one which is an introduction presents in a parsimonious way
the historical background of the study. It also looks at the method of research
and general objectives of the study.
Chapter
two studies the origin and historical background of Abagana location and
people, while chapter three looks at the major event and activities of Ede-Aro
festival, preparatory state.
Chapter four outlines
the effects of the festivals on the social life of the people. Chapter five
examines the input of foreign culture on Ede-Aro festival. While chapter six
was the conclusion.
TABLE
OF CONTENT
CHAPTER
ONE
1.0
Introduction
1.1
Preparation by the shrine priest
1.2
The life of an Aro priest
1.3
Statement of the problem
1.4
Aim and objectives
1.5
Research problem
1.6
Limitation
1.7
Definition of terminology
1.8
Tools
CHAPTER
TWO
2.1 Literature Review
CHAPTER
THREE
3.1
Project execution
3.2
Preliminary sketches
3.3
The Amature
3.4
Mounting and Finishing
CHAPTER
FOUR
4.1
Project analysis
CHAPTER
FIVE
Conclusion
CHAPTER ONE
1.0
INTRODUCTION
Among
the Igbo and other ethnic groups, festival is one of the most important forms
of cultural phenomenon. According to lindwood Frederikson; throughout the
history of human culture, certain days or period of time have been set aside to
communiurate, ritually celebrate or reenact or anticipate events or season
(agricultural, religious or socio-culture) that give meaning and cohesiveness
to an individual and to his community, (1908: 1977).
A festival comprises a time set aside for a public celebration and its
activities whether religious or secular. It is a special time which is separate
from ordinally times. The festival identify with the duration of the special
time.
There are different types of festival in Abagana like the Ede-Aro, Ofala and
new yam. Ichekeotu, iyazi festuival and others, which are celebraretd in
Abagana alone.
The special time is sacred. Thus a participant in a festival identifies himself
with the sacred time through ritualistic re-enactment of the events that inform
man about his origin, identify and destiny (Frederickson, 1908-1977) has
observed a festival in identified with the duration of the special time- a day
or period of time. Regardless of the duration, each festival has all or some of
the facets: a performance of a kind or rite: passage rites, sacrificial rites,
seasonal or commemorative observation and rites celebrating the end of fact or
fast period, at the shrine, an actor or any other solemn spot.
b.
People gathering together at a
community center, market place or any other spot.
c.
Communal eating and drinking
d.
Dramatic dancing, music playing and
athletic displays
Festival are periodic
recalling days or seasons of gaiety or merry-making set aside by a community,
tribe or clan, for the observance of sacred celebrations, religious solemnities
or musical or traditional performance of special significance occurance like to
conquest of a neIgbouring village in war. The festival can take form of a
religious celebration during which sacrifices are offered to the different gods
having power over rain, sunshine, marriage and good harvest.
There are merry- making traditions associated with festival. This may imply that
masks draw the attention of the public and by so doing create a forum for
social interaction. Expressing the role of masquerades in “things fall apart”,
Achebe stresses that the masked spirit in the traditional Igbo society was a
vehicle of much more than manners. It was the repository of all that was held
secret, mythical, mysterious, magical, and supernatural in Igbo culture. Wole
soyinka shares the same view with Achebe in his use of masquerade in the play
titled “the road”. From the sources available and accessible to me I found out
that Ede-Aro festival in abagana has not been documented and as such deserved
detailed study. Masquerade and their perfomance are usually displayed at a
place called afor square (arena) which is a traditional version of a stadium.
1.1
PREPARATION BY THE
SHRINE PRIEST EDE-ARO AND THE MASQUAREDES.
Ozo
ezenwokwe the present aro priest is engage in a series of preparation designed
to make the occasion successful. He scarifies to the auxriary gods and
soliticites their protection over the people throughout the duration of the
festival. He also implores the gods to grant him the will and health to perform
his duties creditably. The masquerades that are organized by the elders visits
the Aro (priest) a night before to find out if Aro (the gods) has granted his
permission so that the festival could be celebrated. They also give thanks to
the deity for his protection in the previous years and seen assurance that
protection in the previous years and seen assurance that he would continue to
do until the next festival. Most of the dangerous masquerade appear in the
night in order to perform at the Aro square between 12 mid night and 3am. Some
perform in the day time at the same Aro square while other worship at the aro shrine.
During this period, the council of elders is summound by the priest to the Aro
shrine to assertain the most appropriate date which should be announce to the
public for the ceremony. This is done through divination “igba-afa”. It is the
responsinility of the diviner to foresee all the ills that might be fall anyone
or all and ensure all the necessary ritual are performed for the success of the
festival.after ascertaining the appropriate date which must fall on an oye
market day, this is announced to the public.
Manipulation which is organized and communicable and it culturally transmitted
from the above definition, one can realize that art is not only also the
exposition and transmission of cultural significance to the society in a visual
form.
Art is indispensable to indigeneous cultural organization whose role were
either social, political, religion, entertainment or a combination of all or
some of these. In order to control the society to enforce the acknowledgement but
unwritten laws-“Omenala” to ensure justice and fact-play, art was put in
service of men.
1.2
THE LIFE OF AN ARO PRIEST (SHRINE PRIEST)
The priest (eze mmo) the worshipper of Ede-aro shrine is slim in nature. Fair
in complexion, some time have grey hair and in the middle of his head are brow
hair. They are beautiful and also fanciful. They decorate their body with
drawing of animals and other beautiful traditional material. They usually put
on tiny rope which shows haven an ozo title. They are very respectful to their
society and communial in general. Their mode of dressing is by tieing cloth
material on their waist(ewa-ogodo0 using using nso (white cloth) to design
their face and body which make them to look fearful and ugly. They also put
beeds around their neck to beautify it. In their shrine they don’t put on
slippers, they put on a cow leather or any other animal in order to beautify
the shrine. They were known for the small calabash (sawser) use in putting kola
nut, offer cacrifice to the gods. They have nzu (Nzu is a white substance given
to people in a person’s house as a sign of welcome. Nzu is avery important
thing in Igbo social order. Nzu goes before kola nut. People are not allowed to
enter into the shrine where the priest is
1.3
DEFINITION OF TERMINOLOGY
A work work like this will not be complete without the author defining some of
the specialize terms. The following are some of the terms we come across in the
course of this project, and their meanings.
A.
Aro welding machine:
This
can be defined as an electrical insulator that passes current with the of
electrode melt metal or iron together to form ore. It is done by melting two
metals together, and then with the help of the eletrode will join them
together. The process is known as fabrication. It was the major machine in this
metal construction project.
B.
JIG SAW
This
is a machine used in the cutting of those flat bar metals. It is one of the
fastest machines used in cutrting of metals and woods.
C.
ABRASSIVE GRINDING
MACHINE
This
machine is used for the sampapering of arts
D.
ROD BENDER
This
is metallic object used in the bending of irons and rods.
1.4 HAND TOOLS
A.
HACK SAW:
This
is a metallic flat material in C shape used in cutting of metals and rods.
B.
BOLT CUTTER OR
(AKPABIO)
This
is a plier like metal but bigger in size metal object. It is used in cutting of
rods.
C.
FLIERS
This
is a rubber head metal material used in the clipping of tiny rods to avoid hot
metal
D.
CUTTING CHISEL
This
Avery hard metal material used in the cutting of rod and metals.it is used by
beating a hard hammer on the head to enable it cut easily.
E.
WIRE CUTTER:
This
material is used in cutting wire and binding wire.
F.
MONDAY HAMMER AND ORDINARY HAMMER:
This
is used for beating of object, it’s a heavy headed object used for hard objects
AFFILIATE LINKS:
Comments
Post a Comment