Article Citation: Olumuyiwa Omeiza BALOGUN (2023). The Impact of Festivals on Urbanisation of Nigerian Cities: The Experience of Calabar and Lagos, 2004-2016. DEGEL: The Journal of the Faculty of Arts and Islamic Studies, Vol. 20, No. 1 & 2. ISSN 0794-9316

THE IMPACT OF FESTIVALS ON URBANISATION OF NIGERIAN CITIES: THE EXPERIENCE OF CALABAR AND LAGOS, 2004-2016

By

 Olumuyiwa Omeiza BALOGUN

Abstract

Festivals as a global phenomenon have recently begun to attract quite a significant interest with regard to the relationship that exists between them and their host city. Hitherto, the celebration of festivals was seen to be of no consequence other than just a mere socio-cultural and religious activity that had no direct bearing on the city’s image. However, this is no longer the situation in the contemporary world. Today, festivals have metamorphosed into becoming the driving force for the pursuit of socio-economic growth and urban development of cities which has ultimately changed prevailing urban landscape. This study attempts to investigate the socio-economic impact of festivals on the process of urban development of two major selected Nigerian port cities, Calabar and Lagos. The importance of festival as a distinct catalyst to the agglomeration and economic development of cities cannot be over-emphasised. Its role can be attributed to its involvement in the rapid pace of urbanisation taking place in these two cities. This, equally, has given rise to the view that festivals promote a city’s brand, increase tourism, foster the arts, and increase revenues for both the cities as well as local businesses. The methodology used in the paper is historical approach, employing the use of primary and secondary source materials and careful analysis of internet sources. The paper thus concludes that, the emergence of festivals on the socio-cultural horizon has enabled them to redefine and recalibrate the urban process in post-independence Nigeria.

Introduction

For decades, cities and festivals have always had a symbiotic relationship that has found expression through the celebration of diverse socio-cultural and religious events where music, drama and folklore are important features of the celebration. According to Duke and Osim, festival is a performative dimension of cultural praxis that strengthens bonds of cohesion in society.^[1] Basically, festivals can be described as the celebration of the glorious heritage, culture and traditions of a particular people. Traditionally, festivals are events that depict and reflect special moments in our lives. But times have changed. In the contemporary world, festivals now play and undertake a major role in the urbanisation process of cities add structure to our social lives.

It is therefore, the intention of this paper to improve our understanding of the dynamics of festivals and cities in this context, that is, the nexus between cities and festivals goes beyond their religious and cultural significance. Festivals are indeed a universal phenomenon that different societies irrespective of their race, colour, creed or language are generally engaged in. Falassi succinctly defines festivals as an event, a social phenomenon, encountered in virtually all human cultures^[2]. It is an essential part of human existence that has evolved in terms of diversity of form and approach. Festivals play a fundamental role in understanding the cultures that produce them. Celebrating festivals with rich culture and traditions spanning many centuries is generally a way of life among various societies all over the world. Nigeria is not an exception when it comes to the celebration of festivals. No doubt, every tribe, clan and village, town and city no matter how small or big they might be, are engaged in the celebration of one festival or the other. Just like every known society the world over, Nigeria is inundated with a myriad of cultural events - festivals and carnivals that are filled with arts, music, dance and numerous celebrations for all to enjoy. Such events take place regularly on special occasions, set aside by each community to commemorate a particular event of historical, cultural and religious significance. ^[3]

The cultural diversity of every social group within Nigeria’s geographical space has enabled them to organise series of acts and performances to present their own festivals and holiday occasions for the celebration of happiness or otherwise.^[4] These festivals occur at regular intervals and they go a long way in making life more meaningful to the community. As The festivals landscape in Nigeria can be classified into three distinct categories, namely, traditional, government and independent.^[5] The traditional festivals are extraordinary events to celebrate traditional, religious or cultural milestones or practices and aspects of that community. They are primarily organised by local communities. The government-led festivals are festivals that are organised by either the Federal or State governments to boost tourism and/or showcase cultural heritage of the city, state or nation as a whole. However, it must be mentioned that many of these types of festivals are also classified as carnivals in Nigeria.^[6]

While independent festivals currently function in an environment to provide networking for arts practitioners, showcase and develop artists, provide entertainment for the general population and offer branding opportunities to sponsors. The better funded festivals also attract international tourism, create income for local businesses, enable community cohesion, provide skills development, increase real interest in and engagement with the arts in Nigeria, empower young people and provide positive image for the host community within and outside the country.^[7] For the most part, festivals are not all just revelry and music. They are, and continue to be a major part of city life. Nevertheless, the ensuing reciprocal relationship with their host cities has continued to evolve. Hitherto, they were largely considered peripheral to the course of urban development. Now, they have become central to new ways of thinking about the challenges of economic and social change, as well as repositioning cities within competitive global networks.^[8]

In an attempt to develop cultural tourism sector and improve the economic revenue base, States like Cross River and Lagos, have recently embarked on an elaborate initiative to develop carnivals in which they will not only promote their city image, but will showcase aspects of Nigerian and popular cultures in street performances. Moreover, being coastal cities, want to seize the opportunity to fortify its position {comparative advantage) as a tourist haven by seeking close relationships with their festivals. Thus, it is in the light of the above, that this paper will examine the promotion of indigenous festival experience and its relationship with the host city as exhibited by both cities of Calabar (2004) and Lagos (2007) which clearly constitute a spectacular parade of public celebration of cultural heritage, artistic profile, creativity, colourful parades, and dance and musical performances.

Festivals as an Integral Part of City Life

The term “festival” and “carnival” are not only synonymous, they are intertwined. For the purpose of clarity, we shall however, use them interchangeably to enable us broaden our understanding of the study. As already mentioned above, festivals has over the years become an integral part of city life. Generalized events include extremely widespread contents, such as planned festivals and accidental activities, political events and cultural activities have generally become a global way of repositioning city image. Indeed, festivals have both a worldwide basis and national levels, such as the celebration of Olympic Games and the World Expo, which takes place locality and city levels, such as the Harbin Ice Festival. Globally, festivals are generally becoming more and more prominent in the study of urban development and interest in the event-related research has begun to attract attention and is quickly gaining ground and has become a popular topic.^[9]

Historically, the celebration of social events has played an important role in development of human society by breaking the dullness of daily life filled with constant hard work and effort. Like what obtains in most urban centres the world over, daily routine activities were regularly mixed with the celebration of festivals and carnivals. Some of the historic driving forces for events have changed in the modern world and today many events play a contemporary role by attracting tourists has become a major factor that has led to the growth of festivals which has giving rise to the pursuit and development of the potentials of cities in terms of destination repositioning, revitalization and economic restructuring.^[10] 

Cities are so relevant to the modern economy and their performance is largely determined by the destiny of entire regions. Conversely, sustainable development requires that cities themselves are sustainable. Generally speaking, cities are competitive to the extent that they occupy an important position in the world-webs of flows. This assertion is however articulated in the degree of economic change taking place in these two cities, namely, Calabar and Lagos, has generally informed the new phase of urban development thus making them more attractive to visitors locally and internationally. Hence, the importance of festivals as a catalyst for urban development can thus not be overlooked.^[11]

According to Miśkowiec, there has been a visible increase in the awareness of culture’s role in local urban and economic development of cities. Consequently, urban festivals have therefore emerged as a good way of creating a city’s unique identity and experiencing its atmosphere. Furthermore, some scholars have also alluded to the view that festivals ultimately shape the cultural heritage of a particular place. In other words, festivals have in recent times contributed to the cultural and economic development of towns and cities globally. Currently, urban festivals are becoming a crucial element of building the city’s promotion policy and developing creative industry.^[12]To this end, Zherdev opines that the concepts of 'creative economy', 'creative city' and creativity have become exceedingly popular concepts among urban theorists and policy-makers.^[13]

City image is the public’s overall view and comprehensive impression of the city, involving each aspect of the society, culture, economy, and environment and so on. The importance of the image to city marketing can be found in Short et al., who declared that “place promotion involves the re-evaluation and re-presentation of place to create and market a new image for the localities to enhance their competitive position in attracting or retaining resources” Not only can a good city image increase local resident’s self-confidence and sense of pride, but it also can be an important constituent of the city’s investment environment, which attracts people, gathers funds, and impetus socio-economy development. In fact, the city operators often use every means, and try their best, to mold a good city image, and transmit it to the target persons, through every kind of media, to attract them to locally invest and travel.^[14]

Urban Development of Nigerian Cities

Urbanisation is a global phenomenon that has transformed and continues to alter the demographic and spatial landscapes of cities and the ways in which societies function and develop. It is indeed, a key driver of development and growth. Cities offer the lure of better employment, education, health care, and culture; and they contribute disproportionately to national economies. It is the outcome of social, economic and political developments that lead to urban concentration and growth of large cities, changes in land use and transformation from rural to metropolitan pattern of organization and governance. ^[15]

Urbanisation and economic development are closely interwoven and this has given credence to rapid urban growth. The evidence of a positive link between cities (urban areas) and economic development is overwhelming. Scholars like Shabu have demonstrated the positive relationship between urban areas and the agglomeration of economic activity in cities.’^[16] Although cities tend to grow over time, they do not grow uniformly at the same rate. The physical manifestations of rapid urbanisation vary in many cities in Nigeria are and they are often chaotic and reflective of the profound and far-reaching demographic, social and economic transformations occurring in these cities. It can thus be said that the process of urbanisation in most Nigerian cities has followed a different trajectory. In the light of the above, we can therefore say that cities are major centres of economic growth and social development, as they generate new ideas and create numerous new and exciting jobs especially through economics of scale and agglomeration, and fostering creative and innovative civic cultures. Cities also hold the distinction of organizing and regulating any activities of daily urban life that are prosaic but nevertheless crucial to the social and economic growth of the economies of developing countries’^[17]

Historical perspective however, reveals that extensive urban development in Nigeria pre-dates the advent of colonization.^[18]The second half of the 20th century witnessed rapid rate of urbanisation in Nigeria. The introduction of wheeled transportation, particularly railway and road; categorization of settlement into hierarchical order of township and introduction of monetized economy and consequently production of cash crops and exploitation of mineral resources led to the development of ‘islands’ of economic and administrative concentration such as Calabar, Lagos, Ibadan, Kaduna, Jos and Enugu.^[19] However, the continuous geopolitical restructuring, which gave rise to the creation of states and local governments and the import substation-led industrialization process and the emergence of markets for imported consumer goods and services between 1960 and 1975, enhanced the growth and development of these cities.^[20]

Between 1970 and 1995, Nigeria witnessed an unprecedented high level of urbanisation courtesy of oil boom and subsequent massive development projects which the country embarked upon which catalyzed into a great influx of people into the various urban centres. Consequently, the urban population began to increase. By 2006, a national census record had put the population of Lagos State at 9.1 million. This figure was vehemently disputed by the Lagos State Government, which conducted an independent census that gave a figure of 17 million.^[21] The population of Calabar has increased from 285,065 in 1991 to 375,196 in 2006 at an annual growth of 3.0 percent. The paradox is that, inspite of the small land mass of Calabar which is about 299.10sqkm, compared to other cities like Lagos, Kano, New York, Chicago, its population continues to grow thus, bringing enormous pressure on land particularly, for residential purpose.^[22]

The trajectory of urbanisation in these cities has brought with it a variety of opportunities such as improved standard of living, access to jobs, goods and services, shelter, stability, prosperity, security, social inclusion. All these, would invariably make lives safer, healthier, sustainable and more convenient.^[23] From independence till date, Nigeria has experienced tremendous economic growth. Conversely, it has improved the socio-cultural interactions and development among the population. Festivals have come to play a significant role in the development of contemporary society as well as city life. A city can market itself as an ideal location for people and firms, and a preferred cultural destination for tourists; this will of course impacts on the urban environment, ranging from direct and indirect expenditure to employment generation. Cities provide ideal workspace for artists and cultural managers; and the local economy comes to thrive of it, establishing a symbiotic relation with culture. Firstly, culture generates substantial “intangible” or non-pecuniary economic effects. It has a soft function of animation and enhancement of the quality of life, which is an increasingly important element of a city’s competitiveness. It stimulates human creativity, and the capacity to innovate.^[24]

The experiences gained through the celebration of festivals have no doubt had a profound effect upon the life of the individuals, as well as upon society as well hosting city. It is an important human activity of great significance that has come to stay and it is impacting on the process of urbanisation that is already underway in most Nigerian cities. It is against this backdrop that the next section examines the role that certain festivals have played in specific cities namely Calabar and Lagos. It is worthy to note however, that both these cities share unique a common characteristics despite the existing dichotomy in terms of the varying degree of development and urbanisation. Both cities share a comparative advantage of being located along water ways and consequently, are known for their rapid growth. Calabar and Lagos have in recent years witnessed a rapid urban growth.

For the purpose of this study, however, we shall concern ourselves with the government-led and independent festivals which adequately depicted in the cities of Calabar and Lagos. To a large extent, this accounts for the natural enthusiasm for the celebrating of festivals, jamborees, guided tours and other similar physical engagements as the principal preferences of tourism in Nigeria. Prince and Ekpenyong have opined that many festivals are not only organized to present their different cultural practices, sites and symbols of places, but also have contributed to the birth of non-mainstream urban identities and have created a new feeling of “festival moments”, as one of the key important features of the modern “experience economy”.^[25]`

The Calabar Carnival

Calabar is located within the tropical rain forest belt in southeastern Nigeria. It lies along the Calabar River, 5 miles (8 km) upstream from that river’s entrance into the Cross River estuary.^[26] It is the coastal capital of Cross River State, not only is the city one of the major sea ports in Nigeria after Lagos and Port Harcourt, the city can also ostensibly boasts of a rich historical and cultural background.^[27] Furthermore, Calabar is blessed with diverse vegetation belts from the largest mountains and waterfalls with rare animals, including engendered species and unusual plant families making it one of the world’s richest biodiversity centres which make it attractive to nature lovers from within and outside the country.^[28]

One of the major impetus for rapid population growth of the city of Calabar lies within its historical antecedent. The city was at a point in time the capital of South Eastern State of Nigeria in 1967 (later named Cross River State). Since then, the city has experienced changes in terms of status and morphology. It evolved from an administrative town to a commercial city. Not only is Calabar one of Nigeria’s major sea ports, it has an international airport and; it is one of the nation’s key oil and gas industry. Like many urban centres in the country Calabar. has recorded rapid growth in population and spatial expansion which can be attributed to its buoyant oil and gas economy coupled with the prevalence of beautiful architecture, and lush green landscape which continually attracts visitors.

Figure 1: Map Showing Layout of Calabar Metropolis

Source: E.E. Nku-Ekpang et al, “Population Growth and Residential Housing Cost in Calabar Municipality, Cross River State, Southern Nigeria.” Presented at the 58th Association of Nigerian Geographers Annual Conference12th – 17th March, 2017, Nasarawa State University, Keffi, Nasarawa State University, Kebbi, Nigeria.

The rapid rate of urbanization in Calabar has lead to increased pressure on the environment and infrastructure. Being one of the major urban centres in Nigeria, Calabar has become a place where migrants seeking adventure, pleasure and livelihood converge, thereby increasing the population of the area. As population increases, the quest to grow the economy and create jobs for the growing population also increases. ^[29] There are quite a number of festivals that take place in the city annually such as, Africa International fim Festival, Anaka Mbe Festival, Anong Bahumono Festival, Atumbi Festival, Boat Regatta Festival, Efu Festival, New Yam Festival, Calabar Festival, Calabar Annual Dance Festival, Ekpe Festival,, just to mention a few. Among all these festivals, the Calabar Carnival is the most prestigious of them all. The major sponsor of the cultural carnival is the State Government, and it is responsible for the planning, organizing and marketing of the festival.^[30]

Every year, Calabar hosts one of Africa’s biggest street party known as the ‘Calabar Carnival’, where diverse colourful cultural costumes are displayed. For indigenous vacations in Nigeria, Calabar is often the first location that comes to mind, hence why it’s among the most beautiful cities in Nigeria. The festival was created as part of the vision of making Cross River State, the number one tourist destination for Nigerians and tourist all over the world. The whole idea of having the carnival celebrated annually came to fruition under the administration of the former governor; Mr. Donald Duke in 2004. His vision was to transform the city into a hub for cultural tourism and hospitality in Nigerian and in Africa. The Carnival presents a perfect platform from brand visibility for consumer and market awareness. "^[31] The Calabar Carnival is a unique display of cultural heritage of Nigeria and Africa showcased through music, dance, drama and visual creativity, which is reflected in the design of floats, costumes and make-up. The festival, since inception has become one of the biggest tourism and leisure attractions in Africa, and it has grown tremendously in popularity and scope.^[32] The Government of Cross River State has used this carnival as a medium to drive its tourism sector and also, provide exposure for its citizens, as well as develop its vast tourism sites, social amenities and infrastructure such as the Obudu Ranch Resort, the Tinapa Business Resort, Marina Resort.^[33]

The exact origin of modern day carnival is speculative. However, contemporary research locates its roots in primitive festival activities and events honouring the beginning of a new year and the rebirth of nature. Much like the merrymaking and festivity that characterize the last days of the Lenten season in the Catholic doctrine, the carnival art emphasizes revelry and conviviality. In recent times, the carnival has assumed an eclectic thrust. Thus, it has incorporated the varying cultures of different towns, cities and countries thereby commanding tourist attraction across transnational divides in celebration and in geniality. This brand and change in nomenclature was as a result of the global awareness created by the festival in its yearly outings and by 2005, Carnival Calabar was added to the 31 days event culminating in celebration of life, culture, cuisines, costumes and masquerades of the peoples of Cross River. ^[34]

The festival commenced with a tree-lighting ceremony on November 30 at the Millennium Park, Calabar and will end with a thanksgiving ceremony on January 1 of the succeeding year. Usually, musical concerts that feature renowned national and international artistes are used to make the carnival very attractive. People like the late Lucky Dube, Joe, Alpha Blondy, Hugh Masekela, Oliver Mtukudzi, Akon, Kirk Franklin, Donnie McClurkin, Chevelle Franklyn, Fat Joe, NeYo, Asa, D'banj had at one time or the other graced the event with their rhythms and lyrics. The carnival features 5 major competing bands and many others which has continued to draw the patronage and visits of more and more tourists to the state at this point in time.^[35]

The programmes of events at the carnival are drafted each year by the committee in charge of tourism and cultural activities and new initiatives are introduced every year. The carnival is always a beehive of elaborate activities; some of the major events that take place during the carnival are; Music performance, cultural display, fashion shows, boat Regatta, Christmas shows, boat villages and carol night. The festival however, has a particular day dedicated for international carnival where the foreign artists and celebrities occupy the streets of Calabar to showcase their talents. This is one of the many highlights of the Calabar carnival which thus gives it a ‘global favour’ promoting the preservation of frican belief and culture.^[36] Spectators who throngs the city participate in this unique annual festival are always filled with enthusiasm, adventure and excitement because it provides colourful and glamorous entertainment for all.

It is interesting to note that the Carnival Calabar is a manifestation of the global/local relationship which infused and foreign carnival tradition on which indigenous art forms and festivals have been sprinkled, so to say for acceptability. It is was the intention of organizers of the carnival to replicate the Trinidad and Tobago carnival with the hope of not only attracting audience from within and outside the country to experience the rich and unique cultural heritage of the Calabar people but to also promote the ascetics of the city globally.^[37] However, since its inception, modifications have been made with regards to improve the uniqueness, quality and outlook of the Carnival such as constructing floats on trucks for each carnival
band which was borrowed from the Brazilian carnival, as well as the inclusion of American musical genre of hip-hop instead of the Caribbean Samba. Also, contemporary Nigerian popular music was widely used; and the dances and costumes are a blend of the indigenous and Western varieties.^[38]

When the carnival is about to commence, the city wears a defend look. Every part of the city is decorated for the festival. The most striking element of decoration is the lighting. Major roundabouts and electricity power poles on every major street are creatively decorated with special Christmas lighting. The lights are strung on metal wires into various designs with intervals of multiple coloured bulbs. The shaped designs comprise floral patterns, angular, multiple-point stars, Christmas bell, geometric shapes and others. Some have the traditional image of Santa Claus as part of the design. The focal point of Christmas streetlights is the massive structure at the CBN roundabout close to the Millennium Park. The structure is built like a set, covered with special fabric and lit with tiny multi-coloured bulbs. The millennium park itself is also beautifully lit and houses a giant Christmas tree with special lighting accessories. The light patterns are said to have meanings and values for those who share in the Christian faith. A large Nigerian flag acclaimed to be the largest flag in Africa is flown prominently at the centre of the park at the height of approximately 70 feet. As part of the decoration, holiday messages and greetings are printed on flex materials and panels and displayed along major streets to create a panoramic visual delight. The festival is rounded up with the cross over night on 31st December and a New Year thanksgiving service on the 1st of January held in different churches.^[39]

These are quite a handful of competitive and non-competitive bands in attendance at the carnival namely, the Seagull, Bayside, Freedom, Masta Blasta, Passion 4 and CNS Governor’s Band, just to mention a few. Hit FM, bands are distinguished by their colors; The Seagull is the Red band and is known as the most stylish and coordinated band, Passion 4 is the Wise Up, Green band and is known as the most successful band, Masta Blasta is the orange and largest band, Bayside is the Blue band, and Freedom is the Yellow band.^[1] The Festival also includes music performance from both local and international artists, the annual Calabar Carnival, Boat regatta, Fashion shows (introduced in 2016), Beauty pageant (Miss Africa introduced in 2016^[6]) Christmas Village, traditional dances and the annual Ekpe Festival that brings in thousands of tourists.^[3]) It is multi-dimensional, multi-faceted tourism leisure and entertainment programme.^[40]

The port city of Calabar has experienced within the last two decades unprecedented rapid urban growth. This has led to alternation and alteration of several land uses. These land use alternation and alteration has led to varying degrees oflandcover change on features such as urban green areas, wetlands, riparian mangrove forest and other forest and grassland ecosystems; which are currently giving way for the construction of new roads, new residential and industrial layouts, recreation and amusement parks etc. Furthermore, the city’s built up area burst outward in an explosion of sprawl that consumed former agricultural land at a break-neck pace. ^[41]

Thousands of hectares of agricultural land are covered by concrete and asphalt as new roads are created and existing ones are extended. Over 5,200.09 hectares of the former agricultural land at Ekorinim, Esuk Utan, Edim-Otop, Anantigha, and Ikot Efanga have been converted to low density residential, commercial and industrial uses as these areas are merged with the urban areas. This development is consequent on the growth of the population of Calabar. For instance in 1991, the population of Calabar was 328, 876, with a density of less than a thousand person per square kilometer. In 2006, it was 375, 196. At present, the population of Calabar is estimated to be over 399, 761 while the population density is above 1,237 persons per square kilometer.^[42] In addition to the foregoing, the accommodating and friendly nature of the indigenous people of Calabar is at the core of the state’s socio-cultural fabric coupled with the entertainment and colourful experience, makes the people of the state one of the most hospitable people in the world. In this regard, it n can be said that the city dwellers as well the generality of the population of the state are distinct, thus, making it truly a highway of healthy commercial, cultural, linguistic and spiritual interaction amongst Cross River peoples.^[43]

There is therefore no doubt that, Calabar Metropolis has indeed experienced a wave of socio-economic development in recent past, as evident in the new road network, portable drinking water, street lighting But whether such socio-economic development can be attributed to the Carnival fiesta or otherwise, remain a matter of conjecture. the relationship between the carnival fiesta and the overall socio-economic development of the state with particular respect to the present state of infrastructural facilities, the level of poverty in terms of income generation, the standard of living of the people in areas of clean and healthy environment.^[44]

Meaningful and sustainable development is not achievable without the availability of basic infrastructure. Infrastructure here entails structural elements of an economy which involves social engineering that facilitate the flow of goods and services and stimulate growth and development in other sectors of the society. It includes the provision of public services such as water, energy, communication, transportation, health, education and facilities for emergency response. The activities of the carnival promote tourism; which invariably enhances the development of facilities to boost the tourism industry and accommodate visitors during the events. It is quite evident from the above that events such as the Calabar carnival fiesta have the potential to precipitate the provision of infrastructural facilities for environmental development in society.^[45] At this juncture, I must point out that festivals have generally become a veritable means of promoting tourist destinations. There are arrays of attributes that affect tourists’ overall satisfaction with festival. Obviously, so much effort in terms of government and private partnership is committed into the development and marketing of festivals which would certainly go a long way in improving the tourists’ satisfaction of event attendees. Of course, the main objective is to delight the visitors and elicit a profitable repeat visit to the destination for the same event or other activities.

We can thus conclude that, the flurry of activities of the Carnival has generally gained remarkable global and local awareness as reflected in the continued patronage it has enjoyed over the years. This patronage has resulted in a remarkable diversity in the quality and number of foreign nationalities that participate in the festival. More bleachers have been constructed on the carnival route to accommodate the growing audiences in comfort. It is difficult to provide an accurate data in terms of the number of people that visit Calabar yearly as there are no official figures to this effect. In the light of the above, E.H. Andrew and I. Ekpenyong, postulate that speculations can be made based on the high proportion of traffic coming and going through the Calabar airport during the festive season as dense. All the airlines that ply the Calabar local route are usually fully booked towards the festive period. Moreover, from media reports, accommodation in hotels and guest houses are usually scarce as booking is done earlier in the year by guests to beat the rush. Furthermore, road traffic in the city of Calabar also increases as dipped by traffic congestion experienced during this period.^[46]

The Lagos Carnivals

Located in the south-western part of Nigeria, Lagos State lies within latitudes 6°2′N to 6°4′N of the equator, and longitudes 2°45′E to 4°20′E of the Greenwich Meridian. It shares boundaries with Ogun State both in the North and East and is bounded on the west by the Republic of Benin. In the South it stretches for 180 kilometres along the coast of the Atlantic Ocean.^[47] In May 27, 1967, Lagos was created from the then Western Region. However, with the formal relocation of the seat of the Federal Government to Abuja on 12 December 1991, Lagos ceased to be Nigeria’s political capital. Nevertheless, Lagos remains the nation economic and commercial capital.^[48] (See figure 2).

Metropolitan Lagos is the largest urban centre in Nigeria. Spatially Lagos State is not only the smallest state in Nigeria, it is also the most populous city, and it is the second fastest growing megacity in Africa after Cairo, being a focal point for regional, national and international trade and served by significant and often overloaded road, rail, ocean and air transport facilities.^[49] Lagos is Nigeria’s commercial hub, where Nigeria’s wealth and economic activity are concentrated. More than 50% of Nigeria’s industrial capacity is located in Lagos’s Mainland suburbs. Commercial activities especially in the private sector have always been very strong in the city and are carried out at both the formal and informal levels. More importantly, metropolitan Lagos has the best infrastructure in the country. The city of Lagos is replete with modern road networks, water ways and ferry services, tri-cycles and cycles, two sea ports, and local and international airports. The mass transit bus carry large amount of commuters across all parts of Lagos. The city can be described as the melting pot of all ethnic nationalities that make up Nigeria, presents.^[50]

Figure 2: Map of Lagos Metropolis

Source; O. Uduku et al, Lagos: City Scoping Study https://www.african-cities.org/wp-content/uploads/2021/12/ACRC_Lagos_City-Scoping-Study.pdf

Lagos being a dynamic city of opportunities readily offers the best avenue to adventurous Nigerians to transform their standard of living.^[51] As Lagos has grown it has incorporated smaller towns and settlements. Since the colonial period, the city grew steadily and expanded markedly after independence. From the1970s it has experienced a population explosion fuelled by the oil boom, rapid economic growth and rural migration. Lagos is today the seventh fastest growing city in the world and projections are that its rapid growth will continue.^[52] The rate of population growth is about 600,000 per annum with a population density of about 4,193 persons per sq. km. In the built-up areas of Metropolitan Lagos, the average density is over 20,000 persons per square km. Current demographic trend analysis revealed that the State population growth rate of 8% has resulted in its capturing of 36.8% of Nigeria’s urban population estimate at 49.8 million people of the nation’s million population. The implication is that whereas the country’s population growth is 4/5% and global 2%, Lagos population is growing ten times faster than New York and Los Angeles with grave implication for urban sustainability.^[53]

As it is done in almost all the urban centres in Nigeria, quite a number of elaborate cultural festivals are celebrated annually in metropolitan Lagos some of which are the Lagos Black Heritage Festival (LBHF), the Book and Art Festival, Lagos Carnival, Lagos City Marathon, Lagos Creative Industry Fair, Lagos Fashion Week, Lagos Games Festival, Lagos International Jazz Festival, Lagos International Trade Fair, Eyo festival, the Lagos Water Regatta, and Lagos Seafood Festival just to mention a few. These festivals, though diverse in nature and character are often celebrated in ways that are unique to the people of the locality. And in so doing have brought more awareness and significance to the city, to explore and experience Nigeria’s rich cultural heritage which may become important sources of tourism revenue. Suffice to say that some of these festivals are rooted in ancient history while some carnivals are more recent (street parties, film, food, music festivals etc and most of them attract international participation with countries sending delegations or contingents.

In 2010, under the initiative of former governor Babatunde Raji Fashola, the Lagos State Government (LASG) established the LBHF as an avenue to launder the city’s image by promoting the culture and socio-economic advancement of the city which will ultimately serve as open doors of opportunities to prosperity through tourism to enable it expand the economic horizon of the state and the nation at large.^[54] Events such as the LBHF are perceived to be a major contributor to the development of the local economy of its host community as it attractsvisitors from within and outside the state.^[55]

Prior to the establishment of the LBHF the inhabitants of the city in their diverse religious and cultural capacities had their moments of communal celebrations in forms of street carnivals, community festivals/carnivals, religious-based festivals, among others. They always found a way of making these moments of celebration a success. Known as the Fanti or Caretta,^[56] the origin of the carnival has its roots in the colonial period when former slaves from Brazil (returnees) came back to reside in Lagos in the 19th century. Since then, it has been held for over a century as a celebration of the city's ancestry and the plurality of its identity. Street carnivals were first held by the returnee emancipates and their descendants from Brazil, Cuba, Sierra Leone and Liberia, who brought with them a vibrant culture that still exists today, one of which evolved in 2010 into the pulsating and exiting experience that is the Lagos Carnival. Preparations involve the employment of thousands of artisans who are gainfully engaged for about six months prior to each carnival. These artisans produce all the thousands of beautifully designed consumes as well as the decorated floats locally.^[57]

The LBHF is a cultural fiesta that takes place annually in Lagos that also includes the Lagos Carnival. The festival is a feast of culture and history aimed to showcase the richness and diversity of the African heritage. The event celebrates a blend of African creativity with the traditional and contemporary dance, drama, music, painting, photo exposition and others.^[58] The event is usually commences on Lagos Island, filled with troop displays of beautiful costumes and various forms of entertainment including music and dancing. It is an occasion filled with glamour, colour, fun, beauty and a rich display of the culture of Lagos with various groups representing diverse neighborhoods, communities and selected associations in Lagos. The participants marched in a procession through different routes like Bourdillon Road-Giwa Barracks- Falomo Roundabout- Awolowo Road,-King George V Road-Bamgbose –Campos Square- Catholic Mission Street to put up a masterful display at the Tafawa Balewa Square (TBS) Lagos which is the venue of the grand finale.^[59]

This carnival is a fascinating glimpse into Lagos’ history, and many people come to film the culture and heritage of the local people.^[60] The participants at the festival and the positive attitudes exhibited by the experiences of the visitors from within and outside the city can be attributed to government efforts towards stimulating awareness. This has ultimately gone a long way in increased economic activities during the celebration of the event.^[61] It is interesting to note that events like the LBHF are an important contributor to the local economy of its host community as it not only attracts visitors from within and outside the state, it also boosts the business resulting in an increasing demand for accommodation, food, transportation and other services. Since its inception, quite a sizeable number of visitors return every year, spreading the word among family and friends about the enjoyable time they have had. These events are also more likely to reflect the values, community passion and products of available resort, and provide a competitive edge over other destinations. In Lagos, such event as the Lagos Water Regatta is used in celebrating the aquatic splendor of Lagos, and the Lagos Carnival is used in celebrating the culture and the people of Lagos.^[62] The temporary realignment that transforms public places and the local people in them during festival time is a manifestation of the changes that occur with daily community relationships.^[63] Economically, the festival will act as a catalyst that will go a long way in transforming the socio-cultural landscape of the largest urban metropolis in the country.

The celebration of the carnival provides a colourful and an exciting atmosphere that brings in its wake a large influx of population to the city consisting of a mix of audiences and performers. The enthusiasm generated by the carnival experience s created a multiplier effect that brought about a high demand for jobs and support services in relevant areas during this period such as artisans, artists, directors, designers, rushers, technicians, dancers, etc., that benefit in one way or the other from the platform created by the festival. Consequently, under the administration of Babatunde Fashola, the LASG leveraged on this and embarked on an empowerment programme to project the dynamic culture and hospitality of the people of the state and contribute to the development of the city. This culminated in the development of manpower capacity with the recruitment and training of thousands of participants from all works of life, and from across the various Local Government Areas (LGA). They were engaged for about six months prior to the communicant of activities of each carnival. These artisans are involved in the production of thousands of beautifully designed costumes and other paraphernalia of the carnival.^[64]

Impacts of the Festivals on City Life

It is worthy to highlight at this point that the purpose of organizing urban festivals in the two cities discussed above is not to merely to serve as a platform for the convergence of residents and tourists alike to strengthen social relations among its participants and enjoy the celebration of culture and arts but to also utilize the available urban space as best as possible. It is therefore, crucial to establish a link between a festival and a city’s planning and revitalization policies. Urban planners and city officials responsible for promotion should see the hosting of festivals as a potential for implementing changes in public spaces’ organization, building promotion and social relations. The conducted studies may help in: the complex use of social and spatial dimensions to enhance the city image, as well as achieving a policy of revitalization and sustainable development.^[65]

Furthermore, the hosting of festivals results in the improvement of the urban environment as well as the infrastructure in the cities. Quite a substantial number of infrastructures have been built for the sole purpose of improving the aesthetics of the surrounding environment, have become unique and a defining symbol of the host city: Moreover, the host cities have benefited from an intense and favourable promotion and coverage by the mass-media. Consequently, this has impacted positively in that it allows the host city to enjoy immense publicity to boost the city’s image. According to Popescu and Corbos, festivals represent a good way for the city to approach an “image” crisis, to revert the negative reputation and to build up a positive image. ^[66]

It is significant to point out that the celebrations of festivals promote activities that will bring people together with a unifying purpose. This certainly creates an atmosphere of peace and tranquility which in turn stimulates enabling environment which will attract investors and in turn boost the economy of the locality. Basically, peace and unity are essential for national development, hence, should not be undermined. To this end, therefore, harnessing different strategies which will bring about restoration of durable peace in the nation is very vital for the prosperity and progress of the country. Festivals therefore, is a component tool of forging social harmony, and if considered will bring people together because festivals irrespective of its nature, promote cultural exchange thereby increasing understanding among people of different regions.^[67] Moreover, when people are empowered economically it creates an atmosphere of stability and reduces violence, hence, festivals hosting generates economic gain to the host city in that it encourages transaction in goods and services.^[68]

Although, both festivals are poised to display their unique cultural heritage showcased through music, dance, drama and visual creativity which is reflected in the design of floats, costumes and make-up, it is also seen as an attempt to bolster the tourism sector and city image. Be that as it may, there are however, differences which exist between the two sets of festivals in terms of in style, character and theme. For instance, despite the fun, relaxed and exciting atmosphere the Calabar festival excudes, a great degree of thought, creativity, energy and discipline goes into the making and interpretation of the carnival’s theme and scope by depicting contemporary issues of global concerns. The result is pure magic – an outpouring of colour, sound and spectacle, unmatched by anything else on the African continent. There are also, children’s Christmas Camp, theatre performances, vocational training for youths, fashion and food fairs, a weekend at the Obudu Mountain Resort to celebrate Africa, and so many other side attractions. Of course there is a two-day Carnival Calabar to spice up the season. Like Calabar festival, the festival in Lagos though, filled fanfare and excitement, is a celebration of events that incorporate aspects of local heritage and culture the city while at strengthens the capacity of the inhabitants of the city to integrate and be part of a more beneficial economic activity.

Without any doubt, the regularity at which these festivals are held in both cities will generally enhance tourism benefits such as increased visitation and promotion of a destination's image within and around the cities. For instance, it provide an opportunity to visit or explore and identify the cultural heritage sites (monuments, memorials and artifacts) of the city. Furthermore the hosting of these festivals will not only create a conducive environment for entertainment, it will also enhance social bonding and strengthen ties among visitors, inhabitants and participants’ alike. However, while it creates the opportunity to fortify and display cultural heritage and values, there is the potential for negative social impacts to result from the hosting of festivals of such magnitude, such as traffic congestion, overcrowding, vandalism and increased antisocial behaviour. The role and potentialities of festivals in the overall process of urban development of cities is still seriously under-recognized. Therefore, festivals can be regarded as one of the most common instruments of creative city promotion, which have become a ‘must-have’ policy for urban planners of contemporary cities This therefore, underscores the need for both the State as well as the Federal Government to intensify their efforts at re-calibrating urban policy issues geared towards crystallizing the bond between festivals and urbanisation..^[69]

Challenges and Prospect

The annual celebration of festivals by both cities has not only created a unique way to showcase and enjoy the beauty and splendor of their cultural heritage that can be compared to what obtains in other parts of the world (the Rio carnival in Brazil and the Notting Hill carnival in UK), has in no small measure played a significant role in promoting and shaping the image of both Calabar and Lagos. Nevertheless, there are fundamental challenges that if not looked into may hinder the intended goals and aspirations of the motives of maximizing the benefits that accrue to such a venture. A host of social and economic challenges such as adequate funding and low private partnership patronage, increased crime rate and disturbance of public peace and security, uncoordinated urban expansion, a chaotic transportation system, traffic congestion, overcrowding, inadequate hotel facilities, inability to continuities and sustain the event (as depicted by Lagos) and lack of availability, distribution and accessibility of infrastructure, lack of appropriate institutional and technical processes, just to mention a few, can be counter-productive to the successful development of these festivals processes that will foster growth of tourism.

The importance of culture as a fundamental ingredient in its enhancement of city image and promotion of tourism cannot be overlooked. Culture vis-à-vis the celebration of festivals has contributed to bringing about a balanced and sustainable urban development. Culture is part and parcel of urban revitalisation projects in degraded urban areas throughout the developing countries. Consequently, cities like Calabar and Lagos thrive by establishing a symbiotic relation with culture. Conversely, it has a soft function of animation and enhancement of the quality of life of its numerous inhabitants, which is an increasingly important element of a city’s competitiveness. It stimulates human creativity, and the capacity to innovate and put in place infrastructure and social amenities to enhance its status. New symbolic meanings and values become inputs to innovative production concepts and processes. A city can market itself as an ideal location for people and firms, and a preferred cultural destination for tourists; its unique, original cultural mix can become a recognisable brand.^[70]

The relevance of festivals as an economic asset cannot be overlooked. For this reason cultural development and planning are regarded as valuable strategies to accelerate processes of urban growth or regeneration. Cities invest in cultural facilities and events, and in the preservation of their historical heritage, to enable them provide advanced services, sustainable functional mixes, and a high quality of the urban environment..^[71] More so, hosting of festivals can create opportunity for economic empowerment as people produce locally made goods for sale as souvenirs thereby boosting local economy which will result to less dependence on government and. Finally, there is no doubt that the hosting of festivals has significant implications for urban development especially in the area of planning and the adequate utilization of city space for various activities.

Conclusion

It must be pointed out here that the prognosis of this paper seeks to articulate the unique and symbiotic relationship between festivals in the overall development of urban centres. Based on the fact that the socio-cultural nature of these events is predicated on the socio- economic well-being of both concerned cities. The paper tried to establish the view that festivals can improve a city’s image creates place distinctiveness and attracts the attention of visitors, local and international. In the light of the above, the role of festivals in fostering socio-economic cohesion in the hosting city cannot be overemphasized because virtually every festivals is filled with fun, entertainment and reinforces solidarity and the strengthening of ties among members of the community, this is because during festivals people are assigned with different roles in preparation for the celebration. Festivals celebration also creates room for exchange, innovation and creativity as it expresses the tangible and intangible expressions and manifestations of the society’s values and beliefs. Also important, is the communal life which festivals portray especially in creating a very high level of socialization among people of different culture.

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