The Abuja ‘carnival’ that wasn’t

The excitement that marked past editions was lacking, despite assurances by its organizers. The markedly low patronage was suggestive of the reflection of the mood of the nation, which was one of uncertainty rather than some raunchy displays.  Speaking at a press conference ahead of the carnival’s opening, the Artistic Director of the event Mr […]

The excitement that marked past editions was lacking, despite assurances by its organizers. The markedly low patronage was suggestive of the reflection of the mood of the nation, which was one of uncertainty rather than some raunchy displays.  
Speaking at a press conference ahead of the carnival’s opening, the Artistic Director of the event Mr Biodun Abe was upbeat, asserting that the event would be better-packaged compared with previous ones. However, it was clear from reports that it did not turn out that way at all.  Thirty states did not participate, making it the edition with the lowest turnout since the inception of the carnival ten years ago. Reports also reveal that rather than present a cultural scene, the venue of the event was taken over by local traders who displayed their wares for sale.
The poor participation recorded at the 2014 event may not be unconnected with the general state of insecurity in the country, a risk factor that should have been considered strong enough for the organizers to postpone it.
To showcase the diverse cultures of Nigeria and to treat participants and spectators to the expected fanfare and frills thrills, the activities of a national cultural festival, like the Abuja Carnival, should provide more entertainment value besides the traditional horse-riding, street music, rally, parades, dances, children fiesta, command performances, craft exposition and Nigerian cuisines that usually feature. Unfortunately, the 2014 Abuja Carnival took place with most of the residents of the country’s capital city not having the slightest idea that such an event indeed was happening; or did the city wear a look expressive of any festival.
Carnival is an event that should traditionally go beyond parades by participants at the Eagle Square in Abuja. It should be an activity that requires community participation to succeed, which is one good reason why the event should not hold on working days as was the case in the latest edition. Holding carnivals on weekend days would enable interested Nigerians who might desire to be part of it to do so without having to abandon their workplaces. This year’s edition also points to the fact that Abuja Carnival has not been properly developed into an international tourist investment venture that could attract substantial foreign participation. The level of foreign participation is below the economic expectations of Nigerians who see the event as a vital source of generating revenue to boost the country’s financial strength.
Similarly, if Abuja Carnival was instituted to present and preserve the rich cultural heritage of the peoples of Nigeria, among many other goals, then this year’s edition fell short of any reasonable attempt at actualizing this objective. The costumes, for instance, in which participating groups appeared at the event (just as in recent years) have changed dramatically from traditional Nigerian wears to exclusively English attires, at once negating the notion of ‘national culture’.
Besides, there are other areas where organizers of the Abuja Carnival need to improve upon. For example, one of the artists, Salma Zubair, lamented that they were accommodated in the premises of a primary school. To address this and other challenges that threaten the sustainability of an ideal carnival in Abuja, it would be necessary for the organizers to partner with professional Nigerian and international bodies, particularly in the private sector to reposition the Abuja Carnival in order to achieve the vision and mission of the annual cultural event.