COSTUME AND MAKE – UP DESIGN IN THEATRICAL

PERFORMANCE: DURO LADIPO’S OBA KOSO AS A CASE STUDY – A

PROPOSAL

BY

ASAOLU OMOTOLA VIVIAN

MATRIC NO: 2361

1.1 Background of the Study

Costume and make-up design are crucial components of theatrical

performances that contribute to the character portrayal and the overall atmosphere

of the play. The use of costume and make-up design in theater has been studied by

several researchers, and it has been established that it goes beyond the mere

physical appearance of the character. Attia and Ahmad (2022) identified that

costume design has a significant impact on the audience's perception and

interpretation of the character and the play. Similarly, Cabral and Figueiredo

(2022) noted that costume design plays a crucial role in enhancing the performer's

movement and comfort, and it can also be used to convey specific messages and

themes in the performance.

In the case of Duro Ladipo's Oba Koso, costume and make-up design are

essential aspects of the play's performance. The play is a historical drama that is set

in the 16th century during the reign of the Oyo Empire. The clothing and makeup

worn by the characters must communicate the cultural and historical context of the

play. Malva (2022) noted that costume design is a tool for storytelling and can be

used to express the character's personality and social status in the play. Therefore,

the costume and make-up design in Oba Koso must be carefully selected to convey

the appropriate message and immerse the audience in the historical context of the

play.
 To achieve the desired effect of costume and makeup design in Oba Koso, it

is necessary to consider the audience's perception of the play and the cultural

context of the performance. Tan et al. (2022) noted that the use of progressive

problem-based learning (PBL) in costume design courses can help students explore

the cultural and historical context of a play and develop appropriate designs that

align with the play's message and themes. Furthermore, Wu (2022) emphasized

that character costumes in Pixar animation can be analyzed using semiotics to

reveal their narrative function in the story. This approach can be applied in the

costume and make-up design of Oba Koso to ensure that the designs reflect the

historical and cultural context of the play and convey the intended message.

In the modern era, costume design has evolved significantly, with

technology and new materials enabling designers to create more intricate and

detailed designs. Bellet (2022) noted that between 1820 and 1920, costume design

underwent a significant transformation, with designers embracing new materials

and techniques to create designs that were more practical and aesthetically

pleasing. Similarly, Lindgren (2021) identified three tools for generating

performance from costume design: the garment itself, the performer's body, and the

audience's perception. These tools can be applied in the costume and make-up

design of Oba Koso to ensure that the designs align with the play's narrative and

effectively convey the intended message.

 Costume and make-up design are critical components of theatrical

performances, and their use in Duro Ladipo's Oba Koso must be carefully selected

to convey the cultural and historical context of the play. The design should reflect

the historical context of the play, convey the appropriate message and themes, and

immerse the audience in the performance. Using progressive PBL, semiotics, and

modern design techniques can help achieve these goals and create a performance

that is both aesthetically pleasing and immersive for the audience.

1.2 Statement of the problem of the research

Theatrical performances rely heavily on various elements to create an

immersive and engaging experience for the audience. Among these elements,

costume and make-up design play a crucial role in shaping characters, setting the

tone, and enhancing the narrative. Despite their importance, the specific

contributions of costume and make-up design in theatrical productions are often

under-explored in academic research. This oversight is particularly evident in

studies focusing on African theatre, where rich cultural contexts and traditional

aesthetics offer unique insights into these design elements.

Duro Ladipo's "Oba – Koso" stands out as a seminal work in Nigerian

theatre, celebrated for its intricate use of Yoruba cultural motifs and storytelling

techniques. However, there is a notable gap in the scholarly examination of how

costume and make-up design specifically contribute to the play's overall impact.
This case study seeks to address this gap by analyzing the costume and make-up

design used in "Oba Koso," exploring how these elements enhance character

development, convey cultural symbolism, and influence audience perception. By

focusing on "Oba Koso," this research aims to provide a detailed understanding of

the practical and aesthetic functions of costume and make-up in a key work of

African theatre. It will also highlight the broader implications for theatrical

practices and design principles within the Nigerian context and beyond. The study

will investigate the historical and cultural significance of the costumes and make-

up used in "Oba Koso," the design processes involved, and the reception of these

elements by audiences and critics.

1.3 Aim, objectives, research questions, and hypothesis

1.3.1 Aim/Objectives of the Study

The aim of this study is:

1. To investigate the role of costume and make-up design in theatrical

performance.

2. To examine the history and evolution of costume and make-up design in

theatrical performances.

3. To analyze the role of costume and make-up design in enhancing the audience's

understanding and interpretation of the theatrical performance.

4. To explore the challenges and opportunities faced by costume and make-up

designers in theatrical performances.

5. To assess the impact of costume and make-up design in the success of Duro

Ladipo's Oba - Koso.

1.3.3 Research Questions

To achieve the objectives of this study, the following research questions will be

addressed:

1. What is the role of costume and make-up design in theatrical performances?

2. What is the history and evolution of costume and make-up design in theatrical

performances?

3. How does costume and make-up design contribute to the audience's

understanding and interpretation of the theatrical performance?

4. What are the challenges and opportunities faced by costume and make-up

designers in theatrical performances?

5. What was the impact of costume and make-up design in the success of Duro

Ladipo’s Oba – koso

1.4 Justification of the Study

Theatre is an experience that can be both entertaining and educational. In theatrical

performance, the roles played by costume and make-up design cannot be

overlooked. The use of costumes and make-up design is an essential element in

conveying the message and portraying the theme of a play. According to Holt

(2020), costume design has undergone significant changes over the years. The

period from 1820 to 1920 is known for the modernization of costume design. Holt

argued that the changes in costume design during this period were influenced by

technological advancements, social changes, and cultural shifts. This study will

contribute to existing literature on costume design by exploring the historical

development of costume design, focusing on the Nigerian theatre context while

emphasizing the relevance of costume and make-up in theatrical performance, and

also emphasize the continuation of make-up and design in the modern world to

promote Yoruba culture which seem to be going extinct.

1.5 Significance of the Study

This study is significant in exploring the critical role of costume and make-up

design in theatrical performances, using the case study of Duro Ladipo's Oba Koso.

Through the study's research questions and objectives, this study will provide a

comprehensive understanding of the challenges and opportunities faced by

costume and make-up designers in the field and will also demonstrate the

effectiveness of using costume and make-up design to enhance the audience's

understanding and interpretation of theatrical performances. The study's findings

will contribute to the existing body of knowledge on costume and make-up design

in theatrical performances, specifically in the context of African theater. The study

will also provide insights into the challenges and opportunities faced by costume

and make-up designers in the field. Furthermore, the study will help to establish a

link between effective costume and make-up design and the success of theatrical

performances, as demonstrated through the case study of Duro Ladipo's Oba Koso.

1.6 Research Methodology

The study will use a quantitative research approach, specifically a case study

design. Data will be collected through descriptive survey with costume and make-

up designers who worked on theatrical performances related the Ladipo’s Oba

Koso plays, as well as theatre arts students who watched or read the play. The

study will also employ content analysis to analyze relevant literature on costume

and make-up design in theatrical performances, using the Oba Koso as the case

study.

2.1 Literature Review

Theatre is one of the oldest art forms and one can rightly claim that the

fundamental act of theatre occurs whenever an actor or actress communicates

directly through actions and words to an audience. Various techniques, materials

and settings may be employed in the communication process.

Costumes and Make-up are paramount among the elements used in relating

human experiences to an audience. The theatrical art is a premodial experience and

for this reason, the history of theatre must start from pre-literary period in
traditional societies, long before the western conception of the origins of theatre.

Theatre as an art form is generally conceded in Western culture to have begun with

the Greeks. A part of the reason for this generally accepted idea lies in the fact that

it is from ancient Greece that we inherited the first written down play scripts. This

claim however, has come under contention following more recent historical

findings. We are aware that in his attempt to meet one of his primal necessities

(getting food), early man was forced to disguise himself to look like the animals he

hunted. Using costumes and make-up he was able to show his fellow tribesmen

how he made his instruments, implements and weapons, or how he was able to

overcome and capture the animals he used for his meals.

The arts of costume and make-up developed alongside the art of drama.

From the pre-literary period to the Egyptian period, down to the Greek period of

theatre history; to the 20th century and beyond, costume and make-up have

developed and evolved over the years to become indispensable arts of theatre

practice. We shall examine this historical development alongside the development

of Nigerian Theatre practice, inorder to expose the centrality of the arts of costume

and make-up to theatre practice.

The Nigerian Theatre

Two types of theatrical traditions are easily identified in the Nigerian theatre.

These are: the Indigenous Theatre Tradition and the Contemporary Theatre
Tradition. The Indigenous Theatre Tradition is mostly acknowledged to be the first

type of theatre idiom to emerge in the history of Nigerian theatrical culture. This is

because it is subsumed in the culture of the people; hence, the relationship is not

far-fetched. It is a kind of theatre where societal expression, social pattern of life,

ethical values, moral essence, religion and history are mirrored in a dynamic living

form, as visualised in the numerous robust indigenous theatrical traditions of most

societies in Nigeria such as religious ritual enactment, festival performances,

initiation ceremonies, storytelling sessions, masquerade displays and so on.

Nevertheless, in these traditional performances, indigenous actors, costumes,

make-up, masks, songs, mimes, folktales, dances have become the major high

points of the communication of this theatre mould among various communities in

Nigeria, thus, bringing to light the fact that, costume and make-up emerged

concurrently with indigenous actors, dancers, and musicians on the Nigerian

theatrical scene. In this regard, costume and make-up can be assumed to be as old

as Nigerian theatre. To support this observation, (Adedeji 1981; 103) asserts that:

The Indigenous Nigerian Theatre generally is an activity in which an actor takes a

role other than himself through mime, speech, song, or movement with the use of

performing aids (costume, make-up, properties, mask) conveys or communicates a

 message to an audience which may be visible or invisible participatory or non-

participatory.

Hence, confirming that, the dynamics of aesthetics in the aforementioned

traditional performances depended largely on the lavish use of colourful costume

and make-up in Nigerian indigenous performances as found in Ekpe, Ogun, Edi,

Obitun, Oshun, Ekuechi and Sango festivals among others. For instance, at Ife, the

Edi festival that is otherwise known as “The play of Moremi” is usually a seven

day event. It is a festival that displays a lot of colourful costumes and make-up in

the re-enactment of Moremi’s singular heroic deed; in the emancipation of the

people of Ife from the Igbos. In this festival performance, different colourful

costumes made of different materials like Aso-Oke, Sanyan, Ankara are usually

worn by members of the community. The major characters in this traditional

festival reenactment are perceived in mythological characters like: ‘Obatala’,

‘Obalufe’, ‘Obalaayan’, ‘Oduduwa’, ‘Yeyegbasa’, ‘Moremi’ etc. They are

costumed in different materials in form of ‘Aso-Oke’ ‘Aran’, ‘Oja’ ‘Raffia leaves’,

‘Sinde’, while the accessories are cowries, beads, tortoise shells, etc. The makeup

is local white chalk and camwood stylishly designed on their faces and bodies

where appropriate. Likewise, in the ritualistic manifestation of this same festival,

bogus white wrappers and white local chalk are extensively and creatively used on
the priest, his acolytes and the carrier of Ed; known as ‘Tele’ in the dramatic

enactment of the rites of this festival.

Sociology of Theatre Costume and Make-up

In the human society, the arts of clothing and body adornment are universal

phenomena that are conceived by (Roberts, 1974) to be "almost as old as man",

this is because from Paleolithic period till date, every culture of the world has in

one way or the other decorates, covers, exposes and alters the human body to

convey some cultural, social and religious meanings in the society from one person

to another. This establishes the fact that, one distinct way of distinguishing a

people from other decimals is through their physical appearance. Concomitantly,

this gives credence to (Fanon, 1989) submission that it is by their apparel and

ornamentation that types of society first become known. To this effect, (Lyndersay,

2011: pp 3 – 22) opined that “social anthropologists and psychologists have

ascribed many motives and desire to man in explanation of the origins of the great

diversity of styles of body ornamentation”. In her own opinion some of the reasons

why man cover and uncover himself after puberty with animal skins, matted fabric,

or bark cloth, woven cloth, beads, paints and dyes on one hand, is for covering

nakedness and shame while on the other hand, it is for the protection of the body

against insects, or the elements; cold and damp weather, the sun rays, or high

winds etc. However, overtime the arts of clothing and body adornment have grown
and evolved into socio-cultural, religious and political endeavors in human society.

They have evolved to attain symbol of crucial social and psychological relevance

to an individual and as such communicates to others an impression of one's social

status, beauty, occupation, role, self-confidence and other personality

characteristics within the society, hence, serving as a force of identity, social

cohesion and integration (Obafemi, 2011). It is therefore important to note at this

juncture that, it is the socialization of these two art forms in the human society that

developed into costume and make-up in the theatre because theatre costume and

make-up are the microcosm of the larger(macrocosm)of clothing (costume) and

body adornments (make-up) worn in the society because of the symbiotic

relationship between theatre and society. In this sense, (Akaaer,2001) averred that

“drama is the diagram of societal occurrences because it is an extract from life as

we live. It portrays in small scale the socio-political, economic, religious and

cultural aspects of our lives as we live in a society”. In view of this, Costume and

make-up as elements of theatre are primarily designed to aid actor's

characterisation to convey these messages. They are designed to help an actor

interpret realistically whatever role he is depicting in a play. According to (Ode,

2000. Pp 102 – 107).

Costumes are clothes that are worn on stage for the personification

of assigned roles in dramatic productions. Be they personal

 clothing or ordinary apparels, they are called costumes because

once on stage they cease to act as such personal belongings. They

are part and parcel of the entire performance and therefore

contribute to the interpretation and understanding of the play in

performance.

Theatre make-up on the other hand is described by (Osunde, 1997) as the

transformation of an actor from his person to the character that playwright has in

mind. Also, (McHenry,1998) captured theatrical make-up as “the practice of

painting, enhancing or altering the face, the hair and body of the actor with

cosmetics, plastic materials and other substances. It is also the collective term for

the materials used in making up”.(Nwachukwu,2005) also posited that makeup is

"the use of non-natural means to change the physical appearance of the actor and

actress to create a dramatic identity" to the audience. Make-up can then be referred

to as anything applied on the face and other parts of the body of an actor with the

aim of enhancing beauty or affecting his appearance to the audience in the theatre.

This denotes that, to a great extent, make-up designs give the audience primary

clue to the age, health and vitality of character (Gillete, 2006). From the foregoing,

Costume and make-up can then be regarded as visual appurtenances of stage

production that enliven the performers' appearance so as to enhance message

communication between the actors and the audience, To this end, (Bucham, 1989)
summed them up as "the vital link between the artist and the audience". The

statement connotes that costume and make-up are essential in the transmission of

the theme, plot, genre, setting and production style of a play etc to the audience. In

short, the story of a play is easily told by these two aural effects of theatre

production. In view of the fact that, they help to set the right mood for the actors

both physically and psychologically, so that the audience could easily understand

the kind of character the action of the play is communicating.

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