Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 87
Feminism and Stereotypical Modeling in the Tourism Packages of the Calabar Festival
Elizabeth E. Andrew-Essien 1, Esekong H. Andrew-Essien 2
1Department of Geography and Environmental Science University of Calabar, Calabar, Nigeria
2Department of Theatre & Media Studies, University of Calabar, University of calabar, calabar, Nigeria [email protected]
ABSTRACT
The various packages that tourism efforts offer often include gaily-clad women who serve promotional purposes. In the same manner, live performances and parades have in recent times progressed towards the objectification of women as viable sexual objects of tourism. From an ethical perspective, the objectification of women in tourism deserves attention when considered in the light of gender discrimination.
This paper examines the 32-day Cross River Christmas Festival to highlight the merits and demerits of the objectification of women as attractive products of entertainment in tourism. Four hundred (400) questionnaires were randomly distributed to a cross-section of respondents within the Calabar environs.
Findings show that objectification of womanhood has both advantageous and disadvantageous consequences. In the first instance, it is an accepted vehicle for advertising tourism as it sustains the interest of the public. On the other hand, it constitutes a poor basis to reflect African values and morals.
Recommendations include the need to bridge Western tourism ideologies to align with the African values in tourism, while decency is advocated for promoting tourism.
Keywords: Tourism; Festival; Women; Objectification; Cross River.
INTRODUCTION
The tourism industry is globally recognized and accepted to be a total market with multi-dimensional socio-economic propellants that interact to facilitate the rapid development of regions. This constitutes the demand and supply indices that stimulate the movement of people from the source origins to destinations for purposes such as leisure or recreation. The wide range of opportunities that tourism offers to diverse interests and sections and the collective phenomena and relationships that are derived from the tourism activities of a region have promoted diverse interesting discourse on tourism, environment, and development (Cater 1989, Ezema 1993, Awaritefe 2007 and Ake 2001).
These include gender, tourism and development (Fairburn-Dunlop 1994), tourism and GIS (Ake 2001), community tourism (Ashley & Roe 1997)marketing tourism (Middleton, Victor & Jackie Clarke 2008), health tourism (Clift and Grabowski, 1997), sex tourism (Ryan and Michael 2001), tourism and psychology (Canter1982), carnival and tourism development (Andrew 2010), tourism, arts, technology and the marketing mix (Andrew- Essien, Esekong 2020), amongst others.
Tourism derives its momentum from various activities that are harnessed from the resource base potentials within the environment (John & Nnadozie 2021). These may be nature-based as evidenced by the scenic features, landscapes and architectural inputs or culture-based, which stems from the cultural attributes in form of festivals, artistic performances, and a host of various cultural displays. The structure for rapid tourism development rests on the outcomes of the market propellants namely, products, price,
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 88 place and promotion that inter-play with a wide range of stakeholders such as governments, the private sector and the public to produce tourism development. This makes tourism demand and supplies vital components that determine the pace of tourism development. Demand here relates to uniquely packaged products that serve to draw tourists and enable the derivation of satisfaction from tourism through events, shows, and various experiences or activities. Governments and policymakers have embraced tourism packages or activities as a means to attract a wide network of participants into the tourism scheme, owing to their unique character and as a result of the consumption experience, which is largely not transferable but rather consumed at the point of production (Karambakuwa, Shonhiwa, Murombo et al., 2011).
Tourism packaging and activity mix align with African cultural and historical antecedents where festivals were packaged to reflect the cultural traits, norms and values of societies. To this effect, dances, wrestling contests, farming, harvest and masquerade festivals were frequently organized with large crowds in attendance. Many African communities still sustain their festivals as part of a larger tourism calendar and such festivals are well patronized. The patronage of festivals is hinged on the extent to which consumers are satisfied with the packages presented to create an emotional curiosity that triggers the desire for patronage (Lee, Lee, Lee and Babin 2008). Festivals in Nigeria have for a time been a platform to enable the commencement of tourism initiatives that satisfy the leisure demand of many fun-seekers. It is upon this background that the Calabar Festival was put together as a mix of indigenous and neo-cultural performances and other tourism experiences to serve wide-ranging audiences on both live and multiple media platforms. Like other festivals, it has evolved over the years with the design and institutionalization of events and packages that attract tourists and at the same time enhance socio-economic development (Awaritefe, 2007, Aremu, 2001).
Many products of cultural tourism comprise customs, values; artistic qualities, and belief systems that a people hold. This is because the existing cultural relationship underlies the socialization processes that ultimately account for the success factors that model a tourism experience such as the images that are viewed and the resulting outcome as perceived by the viewer (Hunt 1975). Perception is key to defining the experience, value and belief in a product (Mullen & Johnson, 1990). Perception defines satisfaction, which in turn results in a repeat consumption of the same experience or product over time.
Cultures perceive different elements of expression and practices differently. Costumes, lyrics and performances that may be pleasant and decent to some may be seen as being offensive by others. In African society, the issues that bring contention during performance include gaily or outlandishly dressed performers and dances and music perceived to promote vulgarity. In western cultures, these may be seen as elements that serve to stimulate acceptability and satisfaction to participants or consumers. The interplay and packaging of these components crystallize into stereotypes that are either accepted or discarded by cultures.
If, as commonly assumed stereotypes are standardized conceptions or ideologies given special meaning and held in common by a group, then stereotypical modeling would involve a process through which these concepts or ideologies evolve. It is regarded as the accepted expectations to be derived from an experience and may differ between cultures, but generally, certain stereotypes cut across cultures. In the entertainment industry, the stereotypical imagery of the artist consists of one whose general outlook, including dressing, is non-formal, and who is largely a non-conformist. The indicators of stereotypes are sometimes dynamic. For instance, in recent times, it is common to see
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 89 performing artists dress and dance in ways that denote specific gestures that may be reflective of societal trends. Similarly, in many cultures, there are stereotypical expectations of responsible womanhood which are conveyed through dressing, carriage, speech, amongst other profiles. But in the postmodern era, some deviations suggest deviance, creativity or both. For instance, semi-nudism and a slender frame have become parts of the stereotypical components of the 21st Century model of feminine beauty.
These new stereotypical constructs or packages are often used in tourism marketing. The contents of these new constructs are expected to appeal to the target audience and lure them to share in the tourism experience. A few questions should help the understanding of this concept in relation to feminism and tourism marketing. Who determines the ideal stereotype? Why is the feminine figure so ideal as a stereotype in tourism marketing? Do audiences actually have a stereotype for their expectations? What indicators reflect the preferred stereotypical model that is relevant to the needs of the audience?
It would appear that little attention is placed on understanding the indicators that determine cultural appreciation and modeling the configuration of females as participants in tourism. Most studies highlight the benefits and challenges that are derived from tourism and its implication on infrastructures and the environment. Few studies however have concentrated on evaluating the contents and outlook of tourism packages especially as it affects gender objectification intending to determine its suitability and relevance as tourism products. This paper integrates a feminist approach to examining the objectification of gender in tourism packages to evaluate the public perspective as to the suitability of these packages. In clear terms, the study sets out to examine the role of women in tourism stereotypical modeling in the Calabar Festival to proffer solutions that would mediate between extreme views and serve to enhance the cumulative experience to be derived therein.
Gender is a broad term that extends to the socially defined and biologically differentiated roles of both men and women (Scott 1986). Within any society, attention is given to gender roles especially as it relates to the socially expected attitudes and behaviours of men and women. However, in the contemporary context, gender studies seem to pay more attention to feminism and this paper extends the concern for women to studying their objectification. This is justified by the fact that tourism as an industry often objectifies women in promoting tourism development. Objectification is the equation of a person to an object without duly considering other human and respectable qualities. This trend induces different measures of stereotypical representations or modeling of women as sex objects or tourism products. Gender stereotypes are not a new concept as societies have in different times delineated the roles that women and men perform in accordance with cultural expectations. However, greater emphasis is placed on the role that women perform and the modeling of women as objects (Fredrickson & Roberts (1997) in Miner- Rubino, Twenge, and Fredrickson 2002). The consequences of gender stereotypical modeling include amongst others, influencing gender acceptance and responsibilities, actions, behavior and development. Women are often preferred as being better suited for certain jobs and responsibilities in tourism packages. For example, in tourism promotion, gaily-dressed women are used to showcasing the beauty of a product or location.
Adopting the feminist position, constitutes gender stereotyping with a bias towards objectification; it involves neglecting the intrinsic qualities of the person in favour of the beauty and sexuality of the woman and equating this to an object such as beautiful location in other to emphasize the significant qualities of an object. The central concern of proponents of feminism is the demerit that results from downplaying the intrinsic
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 90 attributes of females to the extent of disregarding personal and intellectual qualities, and other capabilities that define an individual. In its place, rather is the repression of the value of womanhood. In understanding the nature of objectification in tourism, emphasis is geared towards the actual participation of women in the tour packages and the psychological factors that propel this engagement.
The Cross River Annual Festival, commonly referred to as the Calabar Festival, was initiated by the Cross River State Tourism Bureau. The Calabar Festival is designed to extend through a 32-day period from 1st December to 1st January annually. A unique feature of the Calabar Festival package is the broad entertainment approach, a nexus of trado-modernity featuring health awareness walks, Carnival Calabar, Christmas Village entertainment, tree lighting ceremony, carol night, cultural and children carnivals; musical concerts with local and international artistic performances, variety shows and talent hunts to mention a few(Andrew and Ekpenyong2012). The contents of this package are targeted at a wide variety of participants and spectators irrespective of age, sex, occupation, religion, and socio-economic status. The Calabar Festival has gained global and economic prominence with many tourists booking in advance for the events as reflected by the increasing attendance over time with spectators drawn from diverse cultures and nationalities attending one event or the other during the festival (Andrew and Ekpenyong2012; Andrew, Agibe and Eneh2014). The festival period is generally accepted as the ideal time to socialize, network and generate rapid income from small and medium scale businesses that are mounted around the festival hotspots. However, within the activities of the Calabar Festival, it is common to observe that many performers especially the female gender engage in acts that may be duly considered as objectification as it relates to dress mode and performances. Hence, this study is concerned with the following objectives: To examine the character of stereotypical modeling of tourism packages that are featured in the Calabar Festival; To determine the extent to which operators and spectators objectify female participants in the festival
The following research questions have induced the objectives of the paper? Does the dress pattern of women participants in the Calabar Festival reflect a type of objectification? Do women dress in peculiar ways to be appreciated? What is the perceptual analysis of observers to the dress pattern of women in the Festival? Should the cultural dress mode of Africa constitute the dressing pattern of women or be influenced by western contexts?
METHODS
The setting for this study is Calabar, the capital city of Cross River State. Calabar is encased between Longitudes 80 18¹E and 80 25¹E and Latitudes 40 50¹N and 50 67¹N.
It is bounded to the North by Odukpani Local Government Area, to the south by Bakassi LGA, to the east by Akpabuyo Local Government Area, and to the west by the Atlantic Ocean. Calabar Metropolis extends over an area of 1,480 km2 and is subdivided into Calabar Municipality and Calabar South Local Government Area. Calabar is presently recognized to be the „cleanest city‟ and a hotspot for tourism development in Nigeria.
This paper adopts the ex-post facto approach to evaluate the perceptual assessment of contributory factors for the stereotypical configuration of women in the Calabar Festival. Both primary and secondary sources of data were used. Primary data were obtained through the administration of 400 questionnaires to randomly selected residents
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 91 of the Calabar metropolis. Calabar Municipality and Calabar South were purposively chosen as being located within the Calabar Festival hotspot area. The structured survey questionnaires as used in this study facilitated the collection of information from respondents on gender, place of residence, awareness of tourism packages in the Calabar Festival, and factors that account for stereotypical modeling among other variables.
Simple ANOVA was used to analyze the hypothesis.
The study was analyzed and presented using tables, simple frequencies and percentages; pie and bar charts. The Likert scale was used to evaluate residents‟
perceptual assessment of respondents towards stereotypical modeling of women in the Calabar Festival.The responses from respondents were analyzed based on the questionnaire randomly administered to residents of Calabar Municipality. It was seen from the survey that one hundred and fifty-six (156) respondents, representing thirty-nine (39%) percent were males while two hundred and forty-four (244), representing sixty-one (61%) percent were females. While three hundred and four (304) or ninety-six percent (96%) resided in Calabar, ninety-six (96), representing twenty-four percent (24%) of those surveyed resided outside Calabar. It was imperative to ascertain respondents‟
awareness of the Calabar Festival as a package to promote tourism Calabar Festival. To this effect, three hundred and forty-four (344) representing seventy-six percent (76%) indicated awareness of the Calabar Festival, while 50 or fourteen percent (14%) of respondents indicated not being aware of the Calabar Festival as a tourism initiative. Also, ninety-four percent (94%) comprising three hundred and seventy-eight respondents (378) indicated awareness that the various packages promoted by the Calabar Festival are for spectators‟ delight and entertainment.
Respondents were required to identify the tourism packages and events that were known. From Table 1, one hundred and thirty-four (134) or thirty-seven percent (37%) of respondents were familiar with the various packages of the festival; while one hundred and thirty-four (134) representing thirty-three percent (33%) indicated the carnival.
Ninety-eight (98) or twenty-four percent (24%) of respondents were familiar with the Calabar Festival Village. Nineteen (19) or four percent (4%) of respondents indicated Musical Concerts and Talent Shows.
Table 1: Respondents‟ Awareness of Tourism Packages in the Calabar Festival
S/n Tourism Packages/Events FREQUENCY (Respondents)
PERCENTAGES (%)
1. Calabar Festival Village 98 25
2. Musical Concerts and Talent Shows/ Comedy 19 5
3. Calabar Carnival 134 34
4. Other Festival Packages 149 37
TOTAL 400 100
Source: Fieldwork 2014
Respondents were required to highlight the events that were most attended based on their popularity index in the Calabar Festival as shown in Fig 1.
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 92 From the figure, one hundred and twenty-nine (129) or thirty-two percent (32%) of respondents have mostly attended the Calabar Carnival. One hundred and four (104) or twenty-six percent (26%) have only mostly visited the Calabar Christmas Village; ninety- nine (99) respondents, reflecting twenty-five percent (25%) have musical concerts and talent shows, while a cumulative presentation of sixty-eight (68) or seventeen percent (17%) respondents highlighted other options such as tree lighting ceremony, health-walks and carol night. To triangulate the response options of the packages attended, respondents were also required to indicate the events that were most enjoyed or memorable. To this effect, one hundred and fifty-six(156) or thirty-nine percent (39%) of respondents indicated the Carnival; sixty-two (62) respondents, reflecting fifteen percent (15%);
eighty-six or 21% indicated the Calabar Christmas Village. Forty (40) or 10% of respondents highlighted musical concerts and talent shows. A cumulative presentation of 56 (fifty-six) or thirteen (13%) respondents indicated other options such as Carol Night, tree lighting, and health walks.
RESULT AND DISCUSSION
1. Nature Of Dressing As Input For Stereotypical Modeling In The Calabar Festival The character of stereotypical modeling which this study considers as a form of objectification is analyzed using two key indices namely dressing and modes of women performers and the result presented in Tables 2-4 using the dress pattern and mode of dressing.
a. Dress Structure for Performers in the Calabar Festival
One of the indicators that determine stereotypical modeling is based on the dress pattern. The findings for this are presented in Tables 2a and b. From the table, the consideration of female dress patterns being foreign shows significant variation in response. The mean of those who agreed in response (x = 112.0) is higher than those who
32%
26%
25%
17%
Calabar Carnival Calabar Xmas Village Musical Concerts Other Festival Packages
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 93 disagreed (x = 71.0) and those who were neutral (x = 17.0). The variation is significant (F
= 13.023; p < 0.033).
Table 1: Foreign nature of dress pattern
Options N Mean Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum Maximum Lower
Bound
Upper Bound
Agree 224 112.0000 4.24264 3.00000 73.8814 150.1186 109.00 115.00 Neutral 34 17.0000 24.04163 17.00000 -199.0055 233.0055 .00 34.00 Disagree 142 71.0000 21.21320 15.00000 -119.5931 261.5931 56.00 86.00 Total 400 66.6667 45.00518 18.37329 19.4366 113.8967 .00 115.00
Table 2. ANOVA
Sum of Squares df Mean Square F Sig.
Between Groups 9081.333 2 4540.667 13.023 .033
Within Groups 1046.000 297 348.667
Total 10127.333 299
b. Female Mode of Dressing
The mode of dressing of women reflects the expression of performance. The mode of dressing of women performing in the festival being sexy is presented in Tables 3a and b.
The Tables show a significant variation in response. The mean response of agreed (x = 128.0) is higher than other options such as disagree (53.0) and neutral (4.0) with a significant F-ratio (F = 6.194; p <.026).
Table 3. Female mode of performance
N Mean Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum Maximum Lower
Bound
Upper Bound
Agree 156 128.0000 39.59798 28.00000 -227.7737 483.7737 100.00 156.00 Neutral 38 4.0000 5.65685 4.00000 -46.8248 54.8248 .00 8.00 Disagree 106 53.0000 46.66905 33.00000 -366.3048 472.3048 20.00 86.00 Total 400 61.6667 62.25646 25.41609 -3.6675 127.0008 .00 156.00
Table 4: Anova Frequency4
Sum of Squares df Mean Square F Sig.
Between Groups 15601.333 2 7800.667 6.194 .026 Within Groups 3778.000 297 1259.333
Total 19379.333 299
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 94 c. Possibility of Dress Pattern Inducing Sex Tourism
The potential of dress mode and pattern to induce sex tourism is considered in this study. As shown in Tables 4a and b, the mean response shows significant variation with the highest response being „agreed‟ (x = 120.0),„ disagreed‟ being62.0, and neutral being18 being. The variation is statistically significant (F = 3.487; p >.165).
Table 5: Dress pattern induce sex tourism
N Mean Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimu
m Maximum Lower
Bound
Upper Bound
Agree 240 120.0000 31.11270 22.00000 -159.5365 399.5365 98.00 142.00 Neutral 36 18.0000 25.45584 18.00000 -210.7117 246.7117 .00 36.00 Disagree 124 62.0000 53.74012 38.00000 -420.8358 544.8358 24.00 100.00 Total 400 66.6667 54.72355 22.34079 9.2378 124.0955 .00 142.00
Table 6: Anova
Sum of Squares df Mean Square F Sig.
Between Groups 10469.333 2 5234.667 3.487 .165
Within Groups 4504.000 297 1501.333
Total 14973.333 299
2. Streamlining Dance Culture In The Calabar Festival
Dance constitutes avenues of experience that typify expressions of events and feelings. The dance patterns for the Calabar Festival are presented below in Tables 7 and b.
The result of the analysis on the response of dance steps in the festivals, being „indigenous‟
shows significant variation, the F – ratio is not statistically significant (x = 2.068; p >0.05).
Table 7. . The dance patterns for the Calabar Festival are presented
Mean
Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum Maximum Lower Bound Upper Bound
101.5000 54.44722 38.50000 -387.6889 590.6889 63.00 140.00 18.0000 25.45584 18.00000 -210.7117 246.7117 .00 36.00 80.5000 43.13351 30.50000 -307.0392 468.0392 50.00 111.00 66.6667 51.02810 20.83213 13.1160 120.2174 .00 140.00
Table 8. Anova
Sum of Squares df Mean Square F Sig.
Between Groups 7546.333 2 3773.167 2.068 .273
Within Groups 5473.000 297 1824.333
Total 13019.333 299
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 95 3. Dance Reflecting Sex Symbolism
To understand the outcome of dance reflections having sexual symbolism in the Calabar Festival, the analysis is presented in Tables 9 and b. The finding shows analysis of variance on the response to dance steps having sexual symbolism. The result is significant with mean response of agreed (x = 142.0) higher than disagreed (x = 490) and neutral (x = 90), while the F – ratio is significant (F = 4.586; p < 0.05).
Table 9: Dance steps and symbolism
N Mean
Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum Maximum Lower
Bound
Upper Bound
Agree 284 142.0000 76.36753 54.00000 -544.1351 828.1351 88.00 196.00 Neutral 18 9.0000 12.72792 9.00000 -105.3558 123.3558 .00 18.00 Disagree 98 49.0000 9.89949 7.00000 -39.9434 137.9434 42.00 56.00 Total 400 66.6667 70.30979 28.70385 -7.1189 140.4523 .00 196.00
Table 10: Anova
Frequency7 Sum of Squares Df Mean Square F Sig.
Between Groups 18625.333 2 9312.667 4.586 .022 Within Groups 6092.000 297 2030.667
Total 24717.333 299
4. Motives For Stereotypical Modeling
In line with the study hypothesis on evaluating residents‟ perceptual assessment of the character of stereotypical modeling of women in the Calabar Festival, the result for the reasons that underscore stereotypical modeling is presented in Tables 8 and 9. The analysis in Tables 8 and 9 on women dressing seductively to be appreciated shows a significant variation, especially as the response „agreed‟ has the highest mean response of (x = 142.5) more than those „neutral‟ in response (x = 25.00), and those who disagreed (x = 51.40).
The f-ratio is highly significant (F = 137.5; p < 0.05).
Table 11: Self-Stereotypical Modeling of Women in the Calabar Festival
N Mean
Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum
Maximu m Lower Bound Upper Bound
Agreed 285 142.5300 .47346 .02805 1.2816 1.3920 1.00 2.00
Neutral 50 25.0000 .00000 .00000 3.0000 3.0000 3.00 3.00
Disagreed 65 51.4000 .49371 .06124 4.2777 4.5223 4.00 5.00
Total 400 72.8333 1.25484 .06274 1.9192 2.1658 1.00 5.00
Keilmuan Sosiologi Pendidikan Vol. 8, Nomor 3, November 2021
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 96 Table12 : Anova
Number
Sum of Squares df Mean Square F Sig.
Between Groups 549.014 2 274.507 137.5 .000
Within Groups 79.263 397 .200
Total 628.278 399
5. Objectification Nature Of Stereotypical Modeling
On women dressing and dancing in a particular way to appeal to the public, respondents‟ analysis is presented in Tables 13 and 14. From the analysis, the option
„agreed‟ has the highest response (x = 142.0) above „neutral‟ (x = 14.0) and „disagreed‟ (x
= 44.0). The significant f-ratio is (f = 3.429; p < 0.05). The variation shows that respondents agree that stereotypical modeling is derived from the public demand.
Table 13: Dress and Dance as modeling indices for public acceptability
N Mean
Std.
Deviation Std. Error
95% Confidence Interval for Mean
Minimum Maximum
Options Lower
Bound
Upper Bound
Agreed 284 142.0000 82.02439 58.00000 -594.9599 878.9599 84.00 200.00 Neutral 28 14.0000 19.79899 14.00000 -163.8869 191.8869 .00 28.00 Disagreed 88 44.0000 26.87006 19.00000 -197.4179 285.4179 25.00 63.00 Total 400 66.6667 71.78765 29.30719 -8.6699 142.0032 .00 200.00
CONCLUSION
From the findings tabulated and analyzed above, two hundred and fifty-eight (258) respondents indicated that the stereotypical modeling of women is equivalent to the objectification of womanhood and should be discouraged, while one hundred and forty- two (142) consider stereotypical modeling as not objectifying womanhood in the tourism package. This dispute conveys the fact that the stereotypical modeling of women in the Calabar Festival serves a number of functions which range from self-appreciation to the presentation of the expected outcome as required by the public and the overriding objective of promoting the tourism package in order to boost tourism development.
Nevertheless, there is strong advocacy towards moderation both in the use of female 14: Anova
Sum of Squares Df Mean Square F Sig.
Between Groups 17925.333 2 8962.667 3.429 .016
Within Groups 7842.000 297 2614.000
Total 25767.333 299
Elizabeth E. Andrew-Essien, Esekong H. Andrew-Essien| 97 stereotypes in the promotion and the reaction and response towards such situations. Three hundred and fifteen (315) respondents advocated for the responsible dress and dance patterns for women performers at the Calabar Festival, which will by no means erode the tempo. This position arises perhaps from perspectives of African feminist morality where it is advocated that women should be protected and accorded dignity for the traditional roles they play as mothers and caregivers in society.
The merits and demerits that result from the objectification of women are considered with emphasis on motive. In this regard, vital questions must be resolved:
Whose agenda is it really to objectify women at the festival? Is it the organizers or the participants? Why do women subscribe to being objectified in the first place? If the reason for objectification is to promote the festival, are there no alternative promotional tools that would suffice to draw audiences to the festival? While objectification of womanhood has often been seen as a marketing strategy able to attract and sustain the interest of the public, it can only work through subscription. In this case, women appear to subscribe to the exploitation, offering to be partners in the marketing process driven by sexuality, not minding the mode or the impression created. The motives and benefits appear two-ended, serving the needs of both promoters and the female performers, and so the redress must also be sought from the two ends. From either side, it must be understood that objectification of womanhood constitutes a poor basis to reflect African values and morality. Caution must therefore be applied in imbibing certain Western models of tourism and promotional ideologies.
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