ABSTRACT
Performing arts centre, a place of entertainment, where actors perform live music, dance, drama, etc. to an audience on stage. A major research consideration on blending Igbo cultural symbolism
with contemporary architecture. The research was necessitated because of the .ncreas.ng absence of cultural
undertone/considerations and its symbols m our national architectural designs, thereby speaking less of the people’s culture and values. This research seeks to integrate cultural symbols and forms with modern day architectural character of performing arts centres, in order to produce an indigenous performing arts centre that speaks well of Igbo race. Starting with an analysis of Igbo culture and its development, and then deriving its basic symbols and their basic building forms from the ancient times. The final outcome will be obvious, a performing arts center that is indigenous and also reflects the culture of Igbo people.
CHAPTER ONE
1.00 INTRODUCTION
1.01 BACKGROUND OF THE STUDY:
Performing arts centre, a place of entertainment, where actors perform live music, dance, drama, etc. to an audience on stage. A major research consideration on blending Igbo cultural symbolism with contemporary architecture. The research was necessitated because of the increasing absence of cultural undertone/considerations and its symbols in our national architectural designs, thereby speaking less of the people’s culture and values. This research seeks to integrate cultural symbols and forms with modern day architectural character of performing arts centres, in order to produce an indigenous performing arts centre that speaks well of Igbo race. The research shall proceed with the analysis of Igbo culture and its development, and then deriving its basic symbols and their basic building forms from the ancient times. The final outcome will be obvious, a performing arts center that is indigenous and also reflects the culture of Igbo people.
The historical experience of the imposition and domination of colonial rule had introduced an alien culture that affected the various traditional and socio cultural set-ups in Nigeria (Tal, M.S.A; Umar, A; and Adejumo, I.A, 2005).
Consequently, Chukwuali (2004) opined that the overwhelming influence of contemporary architecture on modern society has nearly obscured and in some cases even obliterated the indigenous architecture of the peoples of the developing world.
In other words, it can be deduced that there is a challenge of evolving a culturally based indigenous architecture even in this contemporary era.
Tal, M.S.A. et al (2005) further expressed the opinion, that the evolution of indigenous identity in contemporary architecture in Nigeria is not a clear-cut issue. The issue they argue is increasingly becoming a disturbing fact for a great number of people, scholars and professionals in construction industry, particularly architects.
To a large extent culture exerts some influence on architecture in every society. Man always expresses himself socially and culturally. Culture and architecture are interdependent and inseparable. Society is a product of culture and they are therefore related. Ahianba J.E (2009). Still on the influence of culture on the architecture of a place, Gray (2002) asserts that architecture can alter the identity of a city or even a whole nation. Architecture can outrage us, enlighten us, and even physically arouse us, for buildings have a language filled with gestures, moods, colours, personalities, and eccentricities.
The idea that identification of place lies at the generative core of architecture can be explored and illustrated further. In doing this, one
can think of architecture not as a language, but as being in some ways like one. Place is to architecture, it may be said, as meaning is to language. Meaning is the essential burden of architecture (Unwin,2003).
Chukwuali (2004) argumg extensively on this issue states; that we seem to have lost cognizance of the fact that in architectural heritage of the various peoples of Nigeria, the peculiarities of the climatic conditions, the mode of life and the space-time considerations of design have found an all embracing expression. As a result, our experience shows that after centuries of political, economic and cultural colonization, most people still believe that a systematic study of our architectural heritage and the time-tested wisdom of our fore fathers as evident in the yet surviving buildings or structures, are contrary to modern expectations and mode of living and as such should be ignored. In reality however, without giving adequate consideration to the existing traditional building types, it is almost impossible to create an indigenous architecture, which will reflect the life style, customs and traditions of our people.
Taking cognizance of the different convergent opinion of these scholars, the researcher has a strong conviction that the ‘performing arts centre’ which is the destination for those ‘art forms that involve live, filmed, or videotaped presentation of drama or performance of certain skills’ (Microsoft Encarta premium suite :2014) will to a large extent have a lot to speak about the culture of the targeted location. It
can be seen clearly that performing arts include; acting, dancing, smgmg (or combination of these, as in musicals and opera), masquerading, native dance, pageantry, traditional wrestling, and others.
Performing arts can also be seen as one of the oldest and most popular forms of entertainment, in which actors perform live (via music, dance, drama, comedy, etc) to an audience on a stage or an elevated platform or in any other space designated for such performances, either permanently or temporarily, which main purpose could be to entertain, instruct, motivate, persuade, and even shock. But whatever the intentions of the director, performers, and crew, the result depends on the interaction with an audience.
1.02 STATEMENT OF ARCHITECTURAL PROBLEM:
Facility with vernacular undertone and indigenous character, which expresses our cultural symbols, yet employing western (contemporary) technology and materials, which will be the destination for the display of the rich cultural heritage of the populace of Abakaliki and environs a growing challenge.
Broadbent (1999) validates the above problem by reaffirming that one of the central characteristics of architectural form is the way it acts as a symbol or signifier of function, human culture, political power, or any kind of meaning that can be inferred by the person that experiences form.
Ahianba J .E (2009) further reaffirms that ‘there must be a determined effort to revive the dying indigenous architectural trend and evolve new but acceptable architectural styles that recognize the culture of the people with respect to current development.’
There is a growing challenge of having a facility with vernacular undertone and indigenous character, which expresses our cultural symbols, yet employing Western (contemporary) technology and materials, which will be the destination for the display of the rich cultural heritage of the populace of Awka and environs.
Broadbent (1999) validates the above problem by reaffirming that one of the central characteristics of architectural form is the way it acts as a symbol or signifier of function, human culture, political power, or any kind of meaning that can be inferred by the person that experiences form.
Ahianba J .E (2009) further reaffirms that ‘there must be a determined effort to revive the dying indigenous architectural trend and evolve new but acceptable architectural styles that recognize the culture of the people with respect to current development.’
1.03 AIM:
The purpose of this dissertation is to provide an indigenous, culturally symbolic facility which will be a destination for all kinds of performance, and of our various skills and our culture which will be a
major social gateway and architectural landmark for Igbo people and a pride to the nation, Nigeria.
1.04 OBJECTIVES :
The specific objectives of this dissertation include;
1. To sustain the Igbo cultural heritage by providing a culturally symbolic architecture.
11. To make provisions for spaces flexible enough to accommodate future changes or trends in performing arts (entertainment) industry and recreational activities.
111. Provide a forum which encourages users to be creative, learn about their social past and various skills to enable them plan properly for the future.
iv. To design facades that invoke an aura or one spot reflection on the Igbo core values and philosophies.
1.05 SIGNIFICANCE OF THE STUDY :
The beneficiaries of this research study include the government, the society, individuals and future researchers, which would not only foster human development, but promote cultural and socio-political values. It will add to the ostentatious vista of our city, as well as encourage economic growth and tourism.
1.06 SCOPE OF THE STUDY:
‘The design of contemporary auditorium structures has developed to accommodate a range of functions and these new styles now accompany traditional historical theatre buildings. Considerable revival in the design of the theatre and auditorium has seen a move away from decorative architectural expression towards providing more multipurpose, flexible and functional structures. In addition, flexible seating and storage facilities, along with variable stage openings and mobile ceilings, allow adaptation of audience capacity and acoustic dynamics. These unified elements of contemporary design cater for all types of productions – from the staging of modest amateur dramas to large-scale orchestral concerts, opera and musicals.’ Pickard, K. (2000)
By the performing arts we mean theater, music, opera, and dance, from the traditional “high arts” to the popular arts, including live arts performed in all venues and non-live arts through all forms of mass media, McCarthy, Brooks, Lowell, Zakaras. (2001)
The three basic forms of stage production; music, drama and dance, will define the extent of this research, bordering both cultural and contemporary aspects.
Other facilities and ancillaries as deemed necessary will be incorporated for ease of use and proper functioning of the performing arts centre and may include;
| 1. | Main auditorium for theatrical performances. | |
| 11. | Stage(s) and back stage. | |
| 111. iv. v. | Control unit. Administrative offices. Amphi theatre for cultural dances | and |
| vi. | masquerading. Cultural exhibition | |
| vii. | Meeting hall(s), |
1.07 RESEARCH QUESTIONS
1. What are the notable cultural symbols of Igbo people?
11. Can those symbols be integrated in evolving the building form and massing?
111. If yes, how can those cultural symbols be fused in conternporary architecture?
1.08 RESEARCH METHODOLOGY
Survey research approach will be adopted for the purposes of this dissertation, and longitudinal survey design/research, which is one of the three types of survey research will be specifically used. Longitudinal survey design/research collects information on certain variables in a study population at more than one point in time.
Both pnmary and secondary source of data collection will be implemented. This approach is aimed at exploring and investigating specific areas of phenomena in order to gain more insight into the particular problem under investigation and solutions to posing problems.
Primary data includes obtain information from direct sources such as:
• Direct interviews and enquiries from people.
• Author’s fore-knowledge on related noted matters on the current study
• Carrying out site visits and studies; investigations and direct observation on the proposed project site by the author.
• Taking photographs of such visited existing facilities and producing diagrams for illustrative purposes of such.
Secondary data or information method of collection is employed from sources not directly from the author such as:-
• Use of existing literature from textbooks, publications, magazines, and unpublished materials.
• Use of the internet for further information and data collection.
• Internationally recognized and accepted research encyclopedia
• Policy statement.
Information gathered would help the researcher introduce modern techniques in the design of a standard conference centre that will stand the test of all necessary and existing requirements.
1.09 THE STUDY AREA
1.09.1 LOCATION:
Abakaliki is the capital city of the present-day Ebonyi State in southeast Nigeria. The inhabitants are primarily members of the Igbo nation. It was the headquarters of the Ogoja province before the creation of the Southeastern State in 1967. The name Abakaliki Which originally means Aba Nkaleke is a name of a community in Izzi land (Nkaleke). Aba City in Abia State is an ancient commercial city that had business relations and a link road to Nkaleke and resonated among Izzi people travelling to and fro Aba for business purposes. The popular Rice mill Industry and Abakpa Market were the major reason for the close business relations between Aba City and Aba Nkaleke. In the past and today, people from other rural Communities come to Abakaliki to sell their farm produce. The choice of Abakaliki as the Capital of Ebonyi State was as a result of the Hospitable nature of the people of Izzi which attracted other people from different parts of Nigeria and foreigners alike. This brought about the development of the City,Abakaliki.
1.09.2 DEMOGRAPHIC
Abakaliki has estimated population of 141,438 according to the 2006 census. Nigerians from other communities also reside mainly within the state capital city. Today Abakaliki people are mostly known to include Izzi, Ezza, Ikwo and Ngbo clans grouped under one Cultural group but, the Main Abakaliki (Aba Nkaleke) people are The Izzi’s.
1.10 LIMITATION OF THE STUDY
The researcher was faced with the problem of doing a detailed study, as information were not been released, vital documents were difficult to be accessed, lack of cooperation from study sites on the basis of principle.
1.11 DEFINITION OF TERMS
A. Performing Arts: arts, such as dance, drama, and music, that are performed before an audience. (The American Heritage Dictionary of the English, fourth Edition:2000)
B. Contemporary Architecture: Contemporary architecture is formally defined as the building style of the present day. Today’s styles, however, are quite varied and have a number of different influences. Examples of contemporary architecture therefore do not necessarily have similar or easily recognizable features as in classical architecture. A precise definition of “contemporary” architecture, therefore, is not so simple to articulate. It is generally recognized that contemporary architecture is an evolution of modern architecture. While these two terms are sometimes used synonymously, this usage is not correct. Modern architecture refers to the building style of the early to mid-20th century. (Lori Barrett: 2011
C. Symbolism: The representation of something in symbolic form or the attribution of symbolic meaning or character
This material content is developed to serve as a GUIDE for students to conduct academic research
PERFORMING ATRS CENTER(ABAKALIKI) A STUDY ON IGBO CULTURAL SYMBOLISM AND CONTEMPORARY ARCHITECTURE
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