Functions and Aesthetics of Eyo Festival
CHAPTER ONE
Objectives of the Study
The aim of this research is to explore the contexts of dramatic performance in Eyo festival in Lagos state during the festival. The study also seeks to explore the kind of relationship the descendants of Ile-Ife keep with their ancestors. Consequently, the main objectives of this study are to:
- Examine the historical origin of Eyo festival in Yoruba land.
- Discuss the nature of Eyo festival through the dramatic performance.
CHAPTER TWO
LITERATURE REVIEW
EYO FESTIVAL CUSTOM AND SYMBOLS
The white regalia symbolize peace and spirituality implying that the masquerade is not human but representing the spirit of the deceased soul being commemorated coming back to earth. To further impress upon the audience this notion, the Eyo masquerade often speaks Asoje, that is, Incantations, it is often barely audible as if the sound being heard is coming from another source. Only adult males may robe as Eyo; but sometimes, there may be a child Eyo in a group.
The sons and daughters and wives, as well as friends and neighbours of the Iga follow the Eyo on a parade from one end of Lagos Island to the other. The route of each Eyo goes from the Iga, where the Iga’s Eyo leave in mass, and then on to the Agodo – the shrine of the Orisa Eyo. After this, the Eyo may go anywhere on Lagos Island their feet can carry them, all the way from EbuteEro to Obalende, via Oke Popo, Campus, Lafiaji and all neighbourhoods the Eyo’s whims may carry him. In fact, an Eyo may easily cover 20 to 30 kilometres on that day. The crowd of supporters following the Eyo does not wear white robes. The Eyo festival is organized under the auspices of the Yoruba tradition, as well as social organizations or clubs. It is an outlet used to showcase the culture of the Isale Eko people, since it can be organized for special occasions apart from the death of prominent chiefs, elders, or installation of a new Oba. It can be used to entertain at special state functions or occasions.
However, when a person meets an Eyo in his brilliant white attire and greets him with the “Agogoro Eyo!”, he answers back with “Mo yo fun e, moyofunra mi!” while dancing, twisting and turning, jumping before lightly touching the person with his Opambata. It is also advised that watching or meeting with an Eyo masquerade is best done with one’s shoes taken off, because the masquerade is usually not pleased with a person standing before him with his shoes on. Eyo masquerades in different groups from prominent extended families and households in Lagos during this beautiful festival parade themselves through the streets dancing, gyrating, chanting incantations, greeting and wading off evil from persons they happen to touch with their staff amid cheers and hailing from the watching crowd. Families and children can be seen enjoying the procession in a calm and relaxed mood with some pomp and laughter coming from the excited crowd once in a while when some interesting move is made by the masquerades.
CHAPTER THREE
METHOD OF PRODUCTION.
Concept
This work was intended to be a prototype model for a seminar in ceramics. Though it did not meet the expected intention due to neglect of some preemptive measure, the concept was derived from a standing tree trunk with no branches.
CHAPTER FOUR
Tools and Equipment used.
The evolution process of Man has experienced use of several materials of different properties as tools for survival. Ceramics have possess some of these properties that were not satiable by the conventional engineering material (metal) which made it most veritable. Tools are the potter’s aid to ceramics production process. Various tools are used in the modeling of Eyo festival, which are:
- Cutting wire
- Scrapper
- Sponges
- Modeling tools
CHAPTER FIVE
CONCLUSION AND RECOMMENDATION
CONCLUSION
On great fact about ceramics is that it requires patience and strict adherence to procedures (Glen N. , 1971) this will be seen in most of the most successful works being discussed about. Just as this fact has been pointed out, some steps should be taken for better yield of products. For this reason, careful analysis of the production process involved in ceramic production should be most imperative which will lead to the discovery of new ideas and technique involved.
CONTRIBUTION TO KNOWLEDGE
This study has been able to identify some basic step towards achieving a worthwhile ceramic production by virtue of the criticism and recommendation made in the discussion. It has also been able to identify the necessity of review in the production process of ceramics. Over and above all, this study will act as a reference material in the case of further research or study. It was intended to be a prototype model for a special project in ceramics.
CHALLENGES AND FINDINGS
Limitation faced was in the area of joining with slip which resulted into cracks on the body of the piece. Though it did not meet the expected intention due to neglect of some preemptive measure, it has served as a lesson considering the loop holes also not forgetting the fact that it can serve as a reference point for student to learn about the possibility of cracks.
FINDINGS.
The sculptural work made with clay representing an Eyo masquerade was derived from a standing tree trunk which can serves as a reference for further research, this can serve as indoor table top decoration, ceramics award, Indoor exhibition and prototype for mass production. Similar artwork includes Igbo- Ukwu art work, Osun festival pot, Yoruba divination board, Sango Staff.
RECOMMENDATION
As an industrial designer, I strongly recommend the following that;
- Ceramic student should be enlightened to go for practical exposure especially at various Indigenous Festivals.
- Ceramist should be encouraged to build up themselves in term of their level of production so as to enable them meet up with the ever-increasing market demand on pottery and ceramic production.
- Government should put on ground an effective monetary aid for young graduates who want to venture into ceramics production as this will go a long way, encouraging and boosting their morale and change their attitude.
- Potters should adequately tap into the available materials needed for effective ceramics improvisation.
- Adequate Research should be carried out to improve on art work representing festivals.
REFERENCES
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- Glen, N. (1971). A potters hand book. New York: Rineheart and winston inc.
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- Aidan, S. (1998). Appreciation and history of art. Limerik: Gill Macmillian.
- “Nigerian Festivals” (2011). OnlineNigeria.com. http://www.travelintelligence.com/travel-writing/2919/Africa- and- Middle- East/Nigeria/Lagos/Lagos/The-Eyo-Festival.html.
- “The Lagos Carnival” (2011). Lagos Carnival Website, Lagos State. Nigeria
- Williams Lizzie, Chalfont St. Peter (2008): Bradt Travel Guides :West African secret societies, their organizations, officials and teaching.
- Nigeria Entertainment News ,Eyo Festival 2011: “Orisha Adamu Eyo Masquerades on Lagos Island”.
- Lucas, J.O. (1948). The Religion of the Yoruba. Lagos: CMS Books Print.
- Macionis, G. (2010). Sociology. 7th Canadian Ed. Pearson: Canada Ink Print.
- McQuail, D. (2011). McQuails Mass Communication Theory.
