Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.59, 2017 38 Significance of Pattern Composition on the Carnival Calabar King and Queen Costumes Dr. Margaret G. Akpan 1 1 Department of Theatre Arts, University of Uyo, Uyo, Akwa Ibom State, Nigeria E-mail: pegylee59@yahoo.com Abstract The term ‘pattern’ involves decorative designing. It is a common principle of design used in textiles to reinforce and enhance the fabrics with different visual sensations that help to stimulate interest, provide visual enrichment and enjoyment, and communicate thoughts through symbols. In patterning, surfaces are vitalized with rich variety of symbols to captivate the eyes; whether large or small, the intricate patterns contribute to the richness of a surface appearance. The focus of this paper is on the significance of the patterns and symbols used in the design of the Seagull Band Junior and Senior King and Queen Costumes for the 2013 Carnival Calabar. To achieve this, the theme ‘ain’t no stopping us’ was interpreted to include the ‘Achiever’ as the junior king, ‘Bliss’ as the junior queen, ‘Genius’ as the senior king, and ‘Creativity’ as the senior queen. Costumes were designed and constructed by a team of experts with appropriate patterns and symbols to give credence to character. These costumes were used for the king and queen competitions in both the junior and senior categories. The competition was assessed by an international panel of judges. The judges adjudged the costumes and the interpretation of their patterns as best depictions of the theme in all categories of the competition. The paper reiterates that the conscious use of appropriate patterns and symbols in costume design can achieve a certain effect vis-à-vis that of enhancing the character during theatrical performances. Keywords: Carnival Calabar; Costume Design; Patterns; Symbols; Characterization 1. Introduction Patterns are made up of a basic element known as motif. This is a simplified shape of an object, which forms the unit design. When it is non-realistic, it is said to be abstract. It may be in form of a dot, shape, line or it may be complex and intricate. Some authorities in design Gilfoy, 1983, Gatto et al, 1978, Parker and Smith 1974, enumerate and explain the different types thus: Grid: This is composed of a network formed by intersecting lines or shapes in vertical and horizontal manner usually uniformly spaced. By so doing there is provision of equal emphasis throughout the enclosed area. A superimposition of more than one grid creates a vibrating optical effect. The grid pattern is readily seen in the checkerboard design used mainly in West African fabrics. A structural quality to pattern is achieved with grids, colour, textures and values making it a complex entity (Gilfoy, 1983, p.45, Gatto et al., 1978, p.183). Alternating pattern: This is the grouping of motifs along one line with alternating number either below or above. There may be variations in colour, lines or shapes but the patterning must be consistent. The idea is the manipulation of the placement of motifs. The general effect is that of an undulating look which gives a feeling of movement that increases as elements are spaced further apart (Gatto et al., 1978, p.185). In other words, the motifs may also be placed in alteration by altering their position as they relate to the central axis without changing the original direction of the pattern (Parker and Smith, 1974, p.52). Radial Pattern: This kind of pattern radiates from the centre outwards and usually in a precise interval. Bedaux and Bolland (1980, pp.19-20) in their study on West African design noted that the radial design explodes and accelerates, thus making design dynamic, active and structurally strong. Examples of radial design include the ‘star’, ‘wheel spokes’, fireworks’, ‘peacock plumage’ etc. Border and Bands: These enrich surfaces with decorative design, which add a feeling of elegance and individuality to the fabric. Talabi (1979, p.18) sees them as a combination of repeated symbols and a repeated unit design, or lines and texture, which add a unifying force to the piece of design. Throughout history, sport teams have used this unique design pattern to identify themselves. “Borders and bands will emphasize the edge of a form or set apart a particular area, somewhat like underlining a word to make it more important’’ (Gatto et