The Aesthetic Functionality of Theatre Costumes in Dance Performances: A Study of the 2016 Imo State Carnival

Costume is one vital element of the theatre that if not given proper consideration can mar the primary idea of a creative piece. Therefore, a theatre costume must serve a theatrical role in its entirety. Carnival performances are artistically rich expressions that rely heavily on costumes not only for beauty, but also for their narrative qualities, movement facilitation and symbolic communication. The creation process of a choreographic piece is one that requires various considerations which costumes are a major part of. This research work focuses on the aesthetic value costumes place on the execution of dances in the 2016 Imo state carnival themed “Imo my Pride Carnival 2016” with the slogan “Ain’t Seen Nothing Yet”, taking an analytic insight on the ease and comfort of the dancers, interpretative ability of the costumes, performance technique, conceptualization and thematic clarity of the various costumes. The paper also examines the interplay between fabric choice, colour symbolism and the dynamic needs of dance movements. Adopting Roland Barthes’ Semiotic Theory and Susanne Langer’s Theory of Symbolic forms and Expression Theory of Art as a guide, this work employs the qualitative method of research comprising video analysis, photographic documentation, literature review, information gotten from interviews of costume designers, dancers, and audience members of the 2016 Imo Sate Carnival. The findings establish that costumes in such cultural performances are not mere adornments but functional tools that bridge the visual and performative elements of dance, contributing significantly to the overall spectacle and message of the performance.