By Barrister Fabian Awhen
Populated by a variety of viable groups, with tremendous socio-economic resources, Cross River State best described as a micro-Nigeria is correspondingly blessed with local talents in various aspects.
The obvious manifestations of such talents are predicated on materials, institutional, philosophical, and creative aspects of cultural tourism.
For example, in the material aspect, Cross Riverians have been noted for their skill in cultural industries such as canoe making, indigenous textile technology in weaving and dyeing, food processing and preservation, distillery, medicine (herbology), and even iron technology.
On an institutional aspect, Cross Riverians have been acclaimed for their well-organized kingship system as well as socio-cultural, political, economic, and legal systems like the Mgbe or Ekpe and Obon societies, shifting cultivation in agriculture and age-grade systems all of which create peace, stability, communication, and smooth development.
Philosophically, Cross Riverians have unprecedentedly bequeathed the world with an earlier mystical writing known as ‘Nsibidi’ which is akin to the Egyptian hieroglyphics as well as a world-view of humility, good neighbourliness, honesty, modesty, and selflessness all predicated on the belief in the creator who himself possesses such qualities.
But most prominent on the pedestal of cultural tourism is the creative aspect, which Cross Riverians globally showcased Nigeria in their famous Monikim and Abang dances from the 70s till date.
As the first comprehensive factory of Western education in Nigeria predicated on the establishment of the Hope Waddell Training Institution Calabar in 1895, Cross Riverians blazed the trail in indigenous oral and written literature encapsulated in folklores and two famous books, Mutanda and E.N. Amaku which still have socio-cultural and academic relevance till date.
But that is not all in the creative cultural tourism as Cross Riverians in the 1970-1980s virtually dominated the indigenous musical scene in Nigeria as skillfully handled and rendered by Inyang Henshaw, Burstic Kingsley Bassey, Prince Nico Mbarga, and Peter Effiom all of blessed memory, and the sensational Pekwaro Brothers who are now in limbo.
There has also been the peculiar but beautiful dress culture of the people, which compelled the late Colonel Dan Archibong to decree it for official use for civil servants in the 1980s.
There are also the indigenous culinary delights nationally and internationally associated with Cross Riverians. They include the famous Afang, Edikang-Ikong, and Afia Efere soups with pounded yam to match.
These cultural resources in the state undoubtedly reflect the tremendous abundance of local talents in the various aspects of that sub-sector of tourism. Indeed, the talents still abound in the state to date.
Unfortunately, the tempo of the preceding cultural tourism aspects which were noticeable with pride in the 1970s 1980s, and early 90s seem to have very remarkably slowed down, some to the point of being virtually in limbo.
And most affected in this regard is the musical aspect. With the death of all the pioneer musicians the state now completely lacks upcoming ones who can handle indigenous music.
Accordingly, rather than maintaining the legacy of the states’ popular indigenous music like highlife, Ekombi, Ibonda, Itembe, and other traditional music across the state, the young ones gifted in music have gone crazy with American pops, British blues and rocks, Jamaican reggae and Cameroon or East African Mokossa.
There are also very strange musical variants like hip hop which now blast the ears and eyes through electronic media as well as fill our record shops in the state.
Such a trend is not at all in line with the spirit and letter of globalization.
Globalization is about the contribution and projection of one’s culture to the world. It is characterized by competition a bid to dominate the world with one’s cultural input. It is neither Westernization nor Americanization of one’s culture.
Against such a backdrop, the state as a veritable macro-Nigeria has a vital role in rejuvenating its various cultural tourism resources from the material to the institutional, philosophical, and creative aspects.
To this end, the state’s own media and educational institutions must review their role of operation to promote cultural tourism in the state for it is education and the media that promotes creativity.
This is more so with the rate of social-economic infrastructure based on the presence of the free trade zone, the international resorts like the Obudu Ranch, the Nigeria National Parks at Oban and Okwango, and the airport all of which attract numerous tourists and investments to the state.
Fortunately, the state has continued to excel in culinary delights above other states in the Nigerian federation. This is a plus that must be multiplied with the rejuvenation of other cultural aspects for the promotion of cultural tourism in the state.
But such a target may not be achieved unless local talents are harnessed particularly by the private sector in the state.
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