INTEGRATION OF CULTURAL VALUES IN THE DESIGN OF EVENT CENTRE IN

MINNA NIGER STATE, NIGERIA

Samuel Obadiah Aliyu1; Isa Bala Muhammad1*; & Momoh Ajanaku Sani1
1
Department of Architecture, School of Environmental Technology, Federal University of
Technology, Minna, Nigeria

*Corresponding Author; [email protected]

Abstract
Events in urban settings serve as a place of convergence of people for economic, educational
religious and cultural activities. The most uniquely characterized spatial transactions are those
that are cultural thus, it is expected that such unique spatial needs are integrated in the design of
event centers. Contrastingly, most public spaces in Nigerian are devoid of indigenous people’s
spatial needs and cultural values. This more profound with minority ethnic group. Consequently,
this research qualitatively to explored the cultural perception and values of public spaces of the
Gbagyi and Nupe ethnic group in central Nigeria. The content analysis of information elicited
showed the convergence of three key spatial attributes that are required towards the fulfilment of
spatial needs of the Gbagyi and Nupe ethnic groups. Most importantly is that, it is possible to
integrate cultural values and perception of people in the design of urban public spaces such as
event centers.

Key words; Architecture, Cultural Values, Gbagyi, Nupe, Heritage, Space.

Introduction
Cultural values are constituted in indigenous people’s world view and also what they hold in high

esteem (Türkyılmaz, 2016). These values are constituted in different forms and that is what

differentiates one community from another (Longley & Duxbury, 2016; Woodside, Hsu, &

Marshall, 2011). Accordingly, cultural values are established in community’s traditional ways of

living which get passed down from one generation to another (Price, Walker, & Boschetti, 2014).

As such cultural values form the basis of identity for a given group of people either in the belief

system or ways of doing things (Brown & Weber, 2012). It therefore means that such common

values within a given group of people can also be established on their interaction with space

(Parsaee, Parva, & Karimi, 2014). This uniqueness in spatial transactions of each community

therefore contributes to the spatial character of vernacular architecture (Muhammad & Said,

2015b).

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Vernacular architecture was maintained for a very long period of time. However, it was a general

norm across Africa in the early 1960's when new states in Africa began the process of nation

building to commission large building projects to foreign Architects and in which the consequence

was the influence of foreign culture in such designs (Beeckmans, 2017) Meanwhile the integration

of native functions and cultural practices in architecture does help to support a country’s identity

(Ibrahim, 2016) . More also is that public spaces such as event centers serve as a point of

congregation for cultural activities traditional rituals. Undoubtedly, the livelihood in cities is

enhanced by the availability of social amenities including planned public spaces (Bishop &

Marshall, 2017; Kayode, Mohd Hisyam, & Ismail, 2013). The ability of these public spaces to

express people’s feelings distinguishes them as important factor for measuring quality of urban

life. Even though, sometime religious places in the cities are used in place of event centers, it is

clear that the space and comfort required during worship differs from that for entertainment or

other non-religious functions (Maahsen-Milan & Simonetti, 2011)

Furthermore, spatial transactions are culture specific and so is also the space required for their

performance (Berker, 2011; Isah, 2016; Muhammad & Said, 2015b).More also is that social

gatherings such as wedding, naming ceremonies among others are a central feature in each culture.

However, there is little or no apathy in Nigeria towards the incorporation of cultural norms of the

people and their perception about public spaces (Okanlawon, Ayorinde, Odunjo, & Omolola,

2016). Furthermore, minority ethnic group in each community are the most vulnerable to the loss

of cultural values and its integration in government policies (Adegbija, 2004). Contextually, the

Gbagyi and Nupe ethnic group belong to the minority ethnic group in Nigeria. Interestingly, the

Gbagyi and the Nupe Ethnic groups are found to constitute the major population of Niger State.

However, limited studies on their cultural transactions of these ethnic group exist except few such

as (Ayuba, 2016) and (Muhammad, 2015). And it is against these background that it becomes

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necessary to investigate as well as integrate the spatial and cultural perception of indigenous people

in the development of event centre in Minna Niger State.

Cultural values and public spaces

Public spaces add value for cities as it offers place for discourse and relaxations for the people

(van Melik & van der Krabben, 2016). Spaces such as parks, theatres and events centers are

conceptualized in different forms. The point of convergence of these different forms of spaces both

built and unbuilt is that they serve as a place of congregation of people in the city. As such public

spaces in their function serves as an antonym for the private space (van Melik & van der Krabben,

2016). However, the proper functioning of these spaces requires the incorporation of cultural

perception and values of the people especially in a multicultural environment (Saulton, Bülthoff,

de la Rosa, & Dodds, 2017). More also is that the integration of culture in the planning of the urban

environment has a trickle-down effect because it enhances the quality of life of a large community.

Similarly people are able to establish their ownership of space and also their sense of history

(Colomb, 2011). This sense of place thus contributes an important cultural value to the society.

Accordingly, architecture has some role to play in the society because it brings together

what is needed in society in social function, economics and technology through shelter. As such

architecture is expected to serve in the development of spaces as well as a mirror of the society’s

cultural values (Dijokiene, Navickiene, & Riaubiene, 2016). Similarly, the reflection of societal

values, and vernacular inspired design solution also serve as a source of wisdom in resolving

contemporary spatial issues (Xiaoyu & Beisi, 2015). This is because each culture is characterised

with its unique solution to spatial needs while at the same time adoptable by other people outside

the community.

Cultural landscape of Niger State

Niger State is situated in central Nigeria with two major ethnic groups of Nupe, and Gbagyi

(Nasarafu, 2011). Nupe individuals call themselves Nupeci and allude to their dialect as Nupe.

Even though the Nupe settlements are mostly found in Niger state, they could also be found in the
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neighboring states of Kwara, and Kogi states (Blench, 2010)While the Gbagyi ethnic group are

also found widespread in Niger State as well as other neighbouring states of Kaduna, Plateau States

and the Federal Capital Territory. The Gbagyi worldview in its totality is concretized in the Gbagyi

way of life, rites of passage, rituals, religion, and indeed is a singular way of describing the entire

personality of the Gbagyi. The Gbagyi do have a manifest of ceremonial activities amongst which

is the Knunu (Ayuba, 2016). Conclusively the duo tribe are mostly found in Niger State.

Research Methodology

The deep understanding of cultural perception of people about their space requires a qualitative

system inquiry (Creswell, 2012; Galvin, 2015; Miles, Huberman, & Saldaña, 2013; Shopes, 2011).

As such for this study, two methods of data elicitation were employed, they are interviews and

participants observations. This is because of the inherent advantages of complimentary role of the

dual methods of data elicitation. The interviews conducted offered more insight into the

phenomena observed as well as the feelings, thoughts, and what goes on in the natural world of

those being studied (Forsey, 2010).

Conduct of Interviews
The interviews were conducted on two categories of respondents. The first category were the

professionals who are the operators as well as managers of event centers in Minna, the state capital

of Niger State. While the second category were the natives, the Nupes and the Gbagyis. The

interview questions for the professionals focused on the challenges faced in accommodating the

cultural needs of the ethnic groups (Nupe and Gbagyi) during ceremonies. While the interview

questions for the natives focused on the spatial needs in the performance of their ceremonies. The

conduct of 16 interviews on the natives showcased the attainment of saturation point (Glaser &

Strauss, 2009; Rubin & Rubin, 2011). while the saturation point for the professionals was reached

after 7 interviews were conducted on the event managers. The earlyr saturation of data for the

professionals can be attributed to the homogeneity of the respondents in the type of services they

4
offered and as such there was little or no variability in the nature of their responses (Guest, Bunce,

& Johnson, 2006). All the interviews were recorded with a tape recorder and transcribed into text

for content analysis. Furthermore, most of the interviews were conducted in the native languages

of the respondents which were translated into English at the point of transcription. While the

observed data were collected using sketches and drawings and of three event centers. These are

explained in the next section

Participants Observation

Participants observations do offer a direct empirical evidence about the study phenomena and thus

10 event centers were purposely selected out of the twenty well established event centers found

within the state capital. The choice was such done to ensure that capacity and locations of were

these event centers are located are adequately captured.

The observations showcased that there are several types of spaces allocated for the performance

of events in different forms, from permanent structures as shown in Figure 1 to smaller

demountable makeshift temporary spaces as shown in Figure 2.

Figure 1: Justice Legbo Kutigi International Conference Centre Minna, Niger State

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 Figure 2: Athena Event Arena at Eastern Bye-pass Minna, Niger State

Results and Discussion

Physical Characters of Event Centres in Minna

What was observed with the Justice Legbo Kutigi Centre (Figure 1) is that even though it is so

named as a conference centre, it also serves a place for weddings and other cultural activities.

Thus, suggesting that it is a multi-functional space. The character of the interior flat and therefore

allows for different seating arrangement.

This scenario of large open space is also found in several event centres, the only difference mostly

is on the material used in the construction as seen in Figure 2 and 3. The common feature in most

of the arena is the provision of perimeter fence in which a manager of one of the centres confirmed

the importance of this in the following quotation.

“Even though ceremonies are public, most organisers prefer that only invited
guest are allowed into the venue, similarly the fence allows for the protection
of vehicles against burglary as well as theft”.

This showcases the importance of perimeter fence as well as a large covered open space for the

effective performance cultural activities.

Space and Culture in the Design of Events Centre

Culture has been established to have influence on how spaces are constituted. (Isah, 2016;

Muhammad-Oumar, 1997; Muhammad & Said, 2015b; Rapoport, 1969; Stephenson, 2007).

Similarly, activities of people are also shaped by their cultural values and therefore people’s

6
transactions are grounded in space and culture (Bishop & Marshall, 2017). In furthering these

assertions, a native respondent (Gbagyi by tribe) aged 47 has this to say:

“Cultural activities such as weddings need to take place in a setting that

should allow for the performance of all the rituals of marriage”
furthermore, another respondent has this to say:
“There is need for the provision of open space to host carnival and cultural
events for the Gbagyi people, we lack large secured open spaces here in the city”
Similarly, this assertion is further stressed by another native respondent in the following quotation:
“Gbagyi people engage in several types of entertainment such as masquerade
dance, but this is not possible to perform in most of the event centers in Minna
and that is why sometime these activities are taken to the village squares”
As such the performance of cultural activities do not necessarily need to take place in a built-

up space. What is most important is the provision of a space that is large enough to accommodate

large number of people. This spatial requirement is not limited to the Gbagyi ethnic group alone

but to also include the Nupe ethnic group as showcased in the anecdote of a native Nupe

respondent below:

“The provision of open Large spaces is required by the Nupes, this could
be seen in gani festivals and hawan bariki, we prefer a large space in
which all could see what is happening in the center”
To rephrase, it can deduced that vernacular spatial requirements for culture activities are not

necessarily constituted in built-up spaces (Tangible) but could also be represented in intangible

(un-built spaces)

Advancing cultural heritage through social interaction

A 49-year-old Gbagyi respondent asserts as follows:
“We have a strong culture which is usually accompanied with several event
and celebrations. The most important thing about event is that it revives our
cultural practices and keep children in-tune with the culture and values of the
community.”

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Cultural rituals are mostly poised towards the promotion and preservation of heritage. Similarly

the cultural practices such as the Gbagyi day carnivals, madawa, and new yam festival are all

towards the preservation of Gbagyi cultural heritage (Ayuba, 2016)

Similarly, a native respondent has this to say:

“Events such as gefu, kushi, Kunu, amadawa gbunu, and marriages are typical
avenues for the display of some of our cultural values. Events in Gbagyi culture
also helps to bring people together under one umbrella of unity”.
Deductively, Gbagyi people just like most ethnic groups portray their cultural values through

traditional rituals and ceremonies. Similarly, their neighbors the Nupe ethnic group also have

similar spatial needs in the performance of the socio-cultural activities such as the need for large

open spaces (Muhammad & Said, 2015a; Muhammad & Said, 2014).

The need for such large space for marriage ceremonies for the Nupes is buttressed in the following

by a 55years old Nupe woman in this anecdote:

“Marriage ceremony is not completed without the performance

of traditional dance at the center of the community’s square and
as such that is why certain activities are performed at home first
before they are taken to event centers”
The performance of some marriage rites at home is as a result of the inability of some of the event

centers to cater for the spatial needs of the Nupes.

Summarily, it can be inferred the ethnic groups (Nupe and gbagyi) require an open space that can

accommodate the different cultural, social and religious events such as weddings, naming

ceremonies, yam festivals, sugar cane festivals, wrestling contest, turbaning ceremonies and a host

of other celebrations.

Unveiling the symbols of cultural values

Traditional forms and cultural symbols must be widely use in architectural and urban design so as

to achieve a sense of belonging as well as social cohesion within a community (Chen, 2011).

Cultural symbols of identity in communities are most at times are constituted either in natural

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features or items or objects commonly found and used by a community (Hubert, 2016).

Accordingly, the content analysis of the respondents shows that the most common feature found

to be of a common value to the Nupe and Gbagyi ethnic group is the calabash. The Nupe use the

calabash as utensils of domestic chores, while the Gbagyi Women’s utilization also include the

use of large calabash as the container for transportation of farm products. Similarly, a common

tool of domestic values to both tribes is the earthen pots which are used as containers for water

and also for storage and decoration inside the bedrooms (Figure 3)

Figure 3: (a) Pots as element of decoration inside bedroom while (b) as container for water
Evidently the commonality of earthen pot as a cultural symbol for the Gbagyi and Nupes is found

being displayed at the entrance foyer of one of the event centers as shown in Figure 4

Figure 4: Traditional Guitar (a) and traditional pot (b) displayed at the entrance Foyer of U.K
Bello Art Theatre Minna, Niger State
This therefore means that cultural symbolism of the Nupe and Gbagyi people is portrayed in the

earthen pots and the calabash.

The Integration of Cultural perception in design of an event center

Several factors constitute the requirements for a culturally integrated Spaces (Isah, 2016; Lu,

2012). However, for this study, the critical factors that are required to meet the needs of the Nupe
9
and Gbagy people is firstly, the provision of large open space. This space is required for the

performance of activities such as dancing, new yam festivals, hawan daushe (Baariki), and

traditional wrestling. Secondly, it is also important to have multiple halls within an event Centre

to cater for various cultural events that are likely to take place at the same time. Consequently, the

Figure 5 and 6 showcases a possible concept in the design of an event center that is culturally

sensitive to the needs of the Nupe and Gbagy ethnic group .

Legend

A Entrance foyer

B Multipurpose Hall

C Traditional Hall

D Banquet Hall

E Theatre

Figure 5: Culturally Integrated Floor Plan of an Event center as Conceived by the Authors

Figure 6: Culturally Integrated 3D Artistic Impression of an Event center as Conceived by the Authors.

It can be noted that Figure 6 showcases a design that incorporated the use of traditional elements

of the calabash common to both the Gbagyis and the Nupes. Here architecture was used to

showcase the cultural heritage of the indigenous people (Ali, Kotb, Elsherif, Hisham, & Osama,

2016). The resultant effect of this is the creation of an edifice which provides a sense of place and

sense of ownership to the local people (Lin, 2012; US-EPA, 2002).

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Aside from the two afore mentioned requirements, the third important space is the provision of a

traditional concentric performance built up open theater space which places the performer in the

center of the circle as showcased in Figures 7 and 8.

Figure 7: Floor Plan of an open-air theatre with the Performance stage labelled “A”

Figure 8: An Artistic Impression of Open Air Theatre using the calabash as the design concept
Summarily, the finding of the research shows the affinity of the Gbagyi and Nupe people’s cultural

transactions to performance of cultural most to earmarked large concentric built and unbuilt

spaces. The cultural transaction specificity of the Nupes and Gbagyi shows that a concentric open-

air theatre as illustrated in Figure 7 and 8 will meet their spatial cultural congregational needs

within the city. More also is that in meeting the cultural values of the natives is the openness

(without roof) of the theatre which also allows for the visual connection to the surrounding

landscape as well as the sky.

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Conclusion
This research did set out to understand as well as integrate the cultural values of minority ethnic

group in the design of an event centre. cultural values are constituted in people’s way of life which

also could be reflected in their spatial transactions. The study of the Gbagyi and Nupe ethnic group

in Niger State showcases rich cultural values and a common ground of symbolism. Even though

each ethnic group is expected to have its cultural transactions and values uniquely characterised,

it is possible to have a common point of convergence especially if they share a common

geographical landscape. Evidently, this study showcased the common values and cultural symbols

of the gbagyi and Nupe ethnic group. Most importantly is that these cultural values where tangibly

represented in the design illustration by the authors. The extent to which the research advocates

for more of this research in other cultural landscapes.

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