THE PRODUCTION OF IGBO CHIEF TANCY TITLE OUTFIT, USING LACE FABRIC OF MATERIAL IN IGBO CHIEF TANCY TITLE OUTFIT IN ANIOCHA IN ANAMBRA STATE
Abstract
In this research work titled the production of Igbo Chief Tancy title outfit, using lace fabric of material with particular reference to Igbo chief tancy title outfit in Aniocha in Anambra state. The researcher produced an Igbo chieftaincy title outfit using fabrics or material. The researcher equally produced a 60 x 36 wardrobe for the maintenance of the chief tancy outfit. The researcher sourced the materials for this research work in Enugu metropolis, the research will buy some of the materials that are needed for the completion of the research work from Onitsha Main market in Anambra state. The research work was carried out in IMT Enugu. The researcher analyzed the data with the use of tables and percentages. The researcher found out that Lack of awareness on the new trends in the construction of men traditional outfit affects the productivity of the designers. Poor knowledge of designers on the operation and usage of new and sophisticated embroidery machines affects the designers to a large extent.
TABLE OF CONTENT
CHAPTER ONE
INTRODUCTION
Background of the study 1
Purpose of the study 5
Statement of Problem 6
Significance 7
Scope of the study 7
Limitation of the study 8
CHAPTER TWO
Review Of Related Literature 9
CHAPTER THREE
MATERIALS AND METHODS 13
CHAPTER FOUR
Data analysis 17
CHAPTER FIVE
SUMMARY, CONCLUSION AND RECOMMENDATION
Summary of findings 21
Recommendation 22
Suggestion for Further Studies 23
References 24
CHAPTER ONE
INTRODUCTION
Background of the Study
Chieftaincy title is well cherished title in Igbo land, Igbo culture (Igbo: Ọmenala Ndị Igbo). Igbo culture is the totality or the ways of life of the people of Igbo land and also the customs, practices and traditions of the Igbo people of southeastern Nigeria. Igbo culture is being practiced more in the eastern part of Nigeria. It comprises archaic practices as well as new concepts added into the Igbo culture either by cultural evolution or by outside influence. According to Aageson, T. (2012) These customs and traditions include the Igbo people's visual art, music and dance forms, as well as their attire, cuisine and language dialects. According to Because of their various subgroups, the variety of their culture is heightened further. In igbo culture, women respect the fact that they should not wear men’s cloth like trouser and men too should not wear women’s cloth like skirt. In Igbo land, two religions are practiced, such as Christian Religion and traditional Religion.
According Aageson, T. (2012) Another evidence of the bastardisation of Traditional Rulership in Igboland is the ubiquitous chieftaincies beyond the autonomous communities. Legally, the roles of Igbo Traditional Rulers are largely restricted to the local sphere. Law and government policy want them to be a symbolic embodiment of the locality they ‘rule.’ However, there are concepts of chieftaincy going beyond the autonomous communities, referring to the various Igbo diasporas outside of the Nigerian Southeast, or even attempting to represent the entire Igbo ethnic group. It appears that those who lose out in the contest of Ezeship in their communities back home, now attempt to use their money and influence to purchase and claim Ezeship title in any city they reside in.( Council for Arts and Culture (2010)) One of these concepts of offshore chieftaincy (beyond the autonomous community) is what Osagbae58 has termed ‘migrant ethnic empire building.’ A considerable part of the Igbo population spends the major part of their lives as migrants ‘abroad,’ i.e., outside their communities of origin (to which they continue to keep strong ties).
According to Council for Arts and Culture (2010) Igbo migrants, like migrants of other ethnic groups, have begun to create their own chieftaincy institutions ‘abroad,’ in order to forward their interests at the places where they live and work. Perhaps, the question should be asked: Why ‘traditional’ title? Why not political or social, such as ‘president,’ ‘co-ordinator’ or ‘leader?’ In Kano, an Eze Igbo was installed in 1986, and other Northern Nigerian cities have followed suit. There are ‘Eze Igbo’ in Lagos, Ibadan and other cities in Nigeria. According to Maiwad, S. (2010) These chiefs/ezes represent migrants not from one particular Igbo community, but of Igbo origin in general, in some cases even including migrants from neighbouring south-eastern Nigerian ethnic groups. One would have thought that the fact that the people who come under the control of their Ezeship are not of the same ethnic origin, would necessitate the adoption of a political or social title rather than traditional. The influence of the Eze Igbo in Kano depends largely on the consent of the local Igbo ethnic associations (which are, again, organised on the basis of communities of origin, but federated into an Igbo Community Association). His area of influence is strictly limited to Kano. He does not possess any comparable status in the Igbo ethnic home area.
A second concept of Igbo offshore chieftaincy uses the same title – Eze Igbo – but with a very different meaning. On May 4, 1996, the former Biafran Head of State, Chukwuemeka Odumegwu-Ojukwu, who returned from exile in 1982, received this title from a Nri Chief (the Eze Nri himself was not prepared to confer such a title). Therewith he laid claim to the status of a ‘King of the Igbo’ in their very homeland (obodo). This act, widely perceived as presumptuous, aroused a major conflict between Ojukwu and other influential Igbo political leaders, especially those within the powerful conservative lobby group, Ohaneze, which later split on this issue. It remained doubtful whether Ojukwu’s ambitious attempt to overcome the factional conflicts in Igbo politics, by once again establishing a singular leadership position for himself, would succeed.
Statement of the Problems
Here in Nigeria, we are still battling with the problem of incorporating and accepting our indigenous style of dressing. One major challenge facing the culture and tourism sector is non-active promotion of the nation’s cultural heritage and tourism potentials through identification, development and marketing of the diverse cultural and tourism potentials of which the present Culture, Tourism and National Orientation Minister, Chief Edem Duke started doing few months after assuming office.
| 1 - 5 of 96 Reviews |