APPEARANCE: PHYSICAL LOOK AND/COSTUME\FACIAL MARKS AND TATTOOS\RECORDS

1.0 INTRODUCTION

This unit focuses on some examples of appearance (physical look, costume, facial marks and tattoos; and records) as visual channels of communication. It examines the concept of appearance, presents some examples and highlights their communication functions. Furthermore, it examines records as a category of visual channels of communication.

2.0 OBJECTIVES

At the end of this unit of study, students should be able to:

1. discuss appearance as a group of visual communication 
2. discuss physical appearance and costume drawing from their cultures and communities 
3. discuss tribal marks and tattoos as examples of appearance, a group of visual communication 
4. discuss tribal marks and tattoos drawing from their cultures and communities 
5. define records 
6. list some examples of records as a mode of visual channel of communication drawing from their cultures 
7. list where records are found in their cultures. 

3.0 MAIN CONTENT

3.1 Appearance

Appearance communicates. It might communicate “about ethnic origin and to some extent disposition and attitude to life” (Akpabio, 2003:39). Appearance is discussed from five angles – physical, dress pattern (clothing and accessories), tattoos and tribal marks and records in this unit. These are discussed below.

Some Examples and their Communication Functions

Physical Appearance – Physical appearance is a major channel of visual communication in Africa. In Nigeria, people who are tall, light skinned and have a pointed nose commonly identified as Fulanis; while the short and stocky are mostly south easterners and people from Calabar (a city in Cross Rivers State of Nigeria) and so on. Again, short people are said to be aggressive and try to assert themselves, while tall people are more amiable, accommodating and tolerant (Akpabio, 2003).

Looking at Africa, people from Congo especially the pigmies are easy to identify mainly by their physical look, while Ghanaian are mostly very dark in complexion.

Costume (Clothing) – Clothes communicate class, social grouping, associations, age, profession and other demographic variables. In Africa, it is easy to identify a person from the kind of cloth the person is putting on. Again in Nigeria, velvet material (Akwa-Oche) is associated with the south-south and south-east geographical zones; plain George wrapper with the people from Rivers and Bayelsa States; George Wrapper, especially Intorica and Supermint (mainly used for occasions) brands are common among Delta State people; Ankara (Hollandais Dutch wax) with people from the Delta and Edo States, South Eastern and Northern Nigeria. However, the single yards variant of Hollandis Ankara is more common with Delta State women, while the double yards are more common with the other parts mentioned. Lace materials of various brands, quality and colours are more commonly used in Western Nigeria.

Furthermore, the way it is sewn (designed) and tied communicates. The Itsekiri people of Delta State tie the big wrapper underneath and the small one on top. Ibo women make a blouse and two wrappers and among the Ibos, a married woman ties her wrapper full length, while the unmarried a little above the knee. Hausa women sew a top and skirt/top and wrapper plus a head tie; Edo woman buba and wrapper; and a Delta State woman two wrappers and a matching top commonly made of a different fabric. Buba and Sokoto/Buba and wrapper (made of aso-oke, brocade, lace, ankara or other fabrics) for Yoruba men and women respectively; and Babaringa and Kaftan; and dansiki are also associated with the Hausa/Fulanis.

Babanriga (Hausa): Chakwara (by Kaduna State people); and Agbada (Yoruba) – an over flowing gown is worn by both Hausa Fulani and Yoruba men. It is worn over Kafatan and trouser, and Buba and Sokoto by Hausa Fulani and Yoruba men respectively. As a result of acculturation, men from other Nigerian cultures wear it. However, the way it is used and the physique of the man wearing the clothes will communicate the person’s area of origin.

Adire and Kampala are commonly made and worn by the Egbas (a Yoruba sub-ethnic group). Commonly women make Boubou (a free long flowing gown) with it. However, as a result of acculturation, it is now worn by other ethnic nationalities in Nigeria. The Yorubas are also known to wear lace materials more than other ethnic nationalities in Nigeria. Traditionally, they are sewn in form of Buba and wrapper for the women; and Buba and Sokoto for men.

Again, a man who ties wrapper, with a top, cap, and walking stick is normally from Delta State (Urhobo, Isoko and Itsekiri ) of Nigeria. Chiefs from the Ukwuani Speaking area of Delta State, Nigeria also dress in the same way.

Ghanaians are very dark and their main cultural cloth is kente a woven material. Kente is worn mainly by Ghanaians. Hence any dark skinned person wearing Kente could easily be identified as a Ghanaian.


Costume (Accessories): Accessories are channels of communication in Africa as various accessories such as neck/wrist/ and waist beads tell about places of origin, show royal status/title in the society, ethic nationality and occasion amongst others. They are worn to complement clothing and enhance beauty and dignity.

The type of dress worn by an old man or woman, whether adorned with beads or not, shows that he or she is a chief or not. Beads and in some cases, caps distinguish a chief while the man with the crown must be the king (Ogwezzy, 1999). In Nigeria for instance, beads (a collection of clay moulded and refined to bring out the desired colours [mostly brownish and Tawny red]) commonly worn by chiefs, royal families and also during burials, christening, chieftaincy installations amongst others. In Yoruba land, first daughters and first sons of the dead wear beads on the neck and wrists during burials. Also, during festivals and marriage ceremonies, women from Yoruba land, Edo and Delta States wear mainly red coloured beads on their necks, wrists and legs; use them as earrings; and also use them to decorate their hairs. Similarly, in northern Nigeria, cowries, shells from the sea, and other leather made accessories are used like beads.

Northern women are known to wear a lot of gold necklace, ear rings, wrist watches and bangles. Asaba (Delta State capital) young girls are made to wear white beads on their waist to signify their virginity. Head ties popularly known as gele is meant for occasion and when going to church. Southern Nigerian women commonly tie gele made of various materials (Aso-oke [mainly by Yoruba women], Damask, and other brands from Switzerland and other countries) for various occasions. The Abeti-aja (dog ear-shaped cap) is a Yoruba accessory and any man wearing it, is more often than not a Yoruba man. It is worn mostly by warriors in Yoruba land and made of woollen cloth. The Hausas (Kaura sub-ethnic nationality) wear it as well. Generally the Yoruba man wears his cap and bends it to the left, which is referred to as gbenusoun, but the Hausa man wears his cap and shapes it into a circular form (most Hausa caps are already fashioned to be circular), while the Ijaw man wears Bowler hat. Hausa women who are predominantly Muslims generally wear veil, while the Yoruba Muslim women and other Nigerian Muslims women also wear veils. It should be noted that some Nigeria women who are not Muslims also wear it for fashion or to identify with the Muslim women. Queens in Yoruba land plait their hair Suku and decorate with beads. Also, Fulani women wear plenty of earrings on their ears and noses; while Fulani cattle rearers wear raffia hats, carry water bottles and staffs.

Crown made of metal and beads are symbol of kingship and worn by the royal families in various Nigerian ethnic groups.

3.2Facial Marks and Tattoos

Although it seems Wilson (1998) classification presented facial marks and tattoos as channels of communication under symbolography, this author believes they should be treated as channels of communication under visual communication because of the thematic linkages.

3.3 Facial Marks and Tattoos, and their Communication Function

Facial Marks - The use of facial mark as a channel of communication is an age long practice and common among Africans. Such marks are usually on the face and are used as a means of identification, particularly during the periods of inter tribal wars and slave trade. The marks are sometimes associated with aesthetics, a concept that varies from tribe to tribe.

According to Doob (1966:83), facial marks and scars communicate personal satisfaction, achievements, status, or ranks and bravery. It is also meant for personal gratification. To some people it actually gratifies, but some people who were given facial marks, especially on the face when they were young, grow beards to cover them up for various reasons such as to hide their identity or because they do not like the marks.

In Nigeria, facial marks commonly reveal people’s ethnic groups i.e. we can tell from where a person comes from by looking at the facial marks. The Isokos and Urhobos have short horizontal marks on the cheek; Ibos, short vertical on the sides of the forehead; Igalas, three horizontal marks on each side of the mouth, and one vertical on each cheek; Yorubas various depending on the sub-ethnic group. Oyos a group within the Yoruba group, horizontal “tiger” marks normally four to five depending on the sub-ethnic group.

Tattoos - Tattoos are designs printed on people’s faces, hands, body and at calves. They are printed for certain reasons and easy identifications. Some are tribal, for fancy or aesthetic interests and to identify easily and silently aristocrats and other castes including slaves (Ogwezzy, 1999 and Akpabio, 2003).

Ogwezzy (1999) stated that the practice is becoming distasteful for the obnoxious messages or information it gives of some sets of people. The habit is fast dying away except the aspects that relate to the ethnicism and aesthetic interests. Sooner or later, it will become a thing of the past for the pains it gives people morally, socially and physically. This writer does not discount this but currently, tattoos are in vogue and young boys and girls both in the developed and developing countries are having tattoos on their bodies.

3.4 Records, Their Characteristics and Where They Are Found

Records are assemblage of public information, which are highly informative, reminding and effective (Ogwezzy, 1999). Records do not have to be only written on paper. Some examples of records from outsides Africa are the South Asian treaties on Animal management written on palm leaves; ancient scripts on bail an leaves preserved in Thai Buddhist temples, and similar leaves containing records of land ownership and tax obligations in Bali. Examples of records are very common among the Binis i.e people from Edo State, Nigeria

Records formal or informal are found in museums, village centres, palaces and homes are other visual forms of indigenous communication. Perhaps a study of indigenous librarianship would reveal many examples of such in Africa.

3.4.1 Some Examples of Records

Local examples of records are found in local works of art such as paintings, sculpture, excavations, and art pieces. Some examples are:Written works

1. Carved
2. Painted
3. Sculptor
4. Excavations

4.0 CONCLUSION

Appearance as a channel of visual communication was extensively discussed drawing from clothing and accessories. Clothing and accessories are channels of communication in Africa as they reveal a person’s place of origin and conveys other messages. As discussed above, there are different modes of dressing in Africa and Nigeria particularly. Babaringa, kaftan and cap signify that a person is a Hausa Fulani; Buba, Sokoto and cap, Yoruba; shirt across or on top of the knee, trouser and a red cap, Ibo (the red cap is synonymous with the chiefs); and George Wrapper, bead and necklaces, common with south-south women in Nigeria amongst others.


It concludes that physical appearances of people communicate something about them. They may tell us about their areas of origin and temperament. Although the aspects of areas of origin and temperament are contestable because Nigerian people wear clothes across culture and it might not always be true that short people are assertive and temperamental, but facial marks generally reveal a lot about people.

Again, facial marks and tattoos were discussed as channels of communication in Africa. Facial marks and tattoos are means of identification as they reveal a person’s place of origin. They are also for aesthetics purpose. This unit also concludes that records in whatever form carved, painted, moulded, memorised and dug up communicate.

5.0 SUMMARY

This unit focused on physical appearance and costume. It drew from various Nigeria cultures and highlighted the messages they communicate. It also discussed facial marks and tattoos, a group of visual communication. It presented and discussed some examples and highlighted their communication functions.

This unit also discussed records as a type of visual communication. It explored the concept of records, listed some examples, places where they can be found and highlighted their characteristics.

SELF ASSESSMENT EXERCISE

1. What is costume? 
2. Draw a facial mark and explain what it stands for. 
3. List three places where records are found 

6.0 TUTOR-MARKED ASSIGNMEN

1. Drawing from your community, discuss clothing as an example of visual communication. 
2. Discuss facial marks and tattoos drawing from you culture. 
3. Define records. 
4. List five examples of records.