Journal of Development Communication And Applied Theatre

One of the unique features of the indigenous African theatre is the unification of physical attributes with the spiritual to situate the unconscious but attainable human nature, which appears vague on gender. A greater part of such expressions are indicated in the sign system of the Akwa Ibom people in their performances. This study examines the communications in the nonverbal codes of Eka-ekpo and Aboikpa-ekpo and Akwa Ibom conception of femininity in these masquerades. It uses qualitative research method and bases the theoretical framework on mythological criticism. Findings show that Ekpo masquerades are shaped in real human categories. Each category embodies some cultural ideas that require insight to unravel. Eka-ekpo is coded as the earth’s mother, the great mother, the custodian of life and the harbinger of death. Aboikpa-ekpo is coded as the paragon of beauty, the indeterminate, firmness of nature and the ripening of womanhood. Findings further show that suppleness, coquetry, bodily-adornment and docility are femininity in Eka-ekpo and Aboikpa-ekpo. The paper concludes that he ethical values that help the African society to grapple with the ups and downs of their society are predominantly warped in mysteries through signs and symbols, which may not be deciphered by the audience. The secularisation of a performance like Ekpo, may be the tool to project creativity and mindset in the designs, thereby promoting Akwa Ibom State for the innovative ability to redefine gender role and peculiarities in the society, which is quite instrumental in social character and attitudinal reorientation in the current social dispensation.

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