Feminism: An Examination of Zulu Sofola’s Sweet Trap and Ola Rotimi’s Our Has Gone Mad Again
Chapter One
Objectives of the Study
This research explores the subjugation, oppression and discrimination of women in a patriarchal African society. Zulu Sofola’s Sweet Trap and Ola Rotimi’s Our Has Gone Mad Again are analysed from the feminist point of view as to critically investigate the oppressive expriences of women in Africa. The focus of the study is to analyse how patriarchal oppression and suppression of women encourages discriminatory treatment and infringement of women’s right. also the various established norms and cultures that relegate women to subordinate positions are examined. In addition, the research explores the strategies adopted by women to battle with patriarchal oppression as portrayed in the plays.
CHAPTER TWO
introduction
This chapter reviews the concept ,kind and brief history of feminism as well as African literary works on feminism it also review feminist literary criticism and survey feminism in Nigeria literary scene. in doing this ,the research builds on and acknowledges previous works on feminism.
The Concept of Feminism
Feminism is derived from the word “femina” which means woman. Therefore, it will be pertinent to state that feminism is women-oriented and concentrates on issues that concerns women. It is a literary movement that tends to bring about a change in the society especially on how women are treated; it tries to discourage discrimination and humiliation on women; it focuses its attention on emancipation of women.
Lots of emphasis has been made on feminism and its stand in the African novel. Women are often relegated to the background and decisions made by men without their consent. Most African novels present female characters as sex objects, inferior beings, and those who must obey the rules made by men. Feminism has been described as having many faces based on the fact that it varies with circumstances surrounding it which can be cultural or historical. Whatever stands one takes, it will revolve around the gap between men and women.
Ogunyemi is among the scholars that would not want to be associate with feminism and they coined their own words. She prefers using womanism. She defined feminism as movement that: smacks off rebelliousness, fearlessness, political awareness of sexism and an unpardonable (from the male view point) drive for equality and equity between sexes. It therefore instills fear in men though it thrills many women. The radical feminist can go as far as doing without the macho male to enjoy her liberty. She posits that:
Womanism, with its myriad manifestations, is therefore a renaissance that aims to establish healthy relationships among people, despite ethnic, geographical, educational, gender, ethical, class, religious, military and political differences (123).
On the same note, she describes Womanism as the Nigerian woman writer who is constantly aware of the negative connotations of feminist; the fear of being accused by the Nigerian males of allying with the white outsider has turned most Nigerian women writers towards womanism; a black outgrowth from feminism. (124) She further states that Womanism is black centered, it is accommodationist. It believes in the freedom and independence of women like feminism; unlike radical feminism, it wants meaningful union between black women and black men and black children and will see to it that men begin to change from their sexiest stand. (65)
By defining both terms, she tries to take a stand on where she belongs. Similarly, Alice Walker prefers to use womanism and defines it as:
a black feminist or feminist of colour…committed to survival and wholesomeness of entire people, male and female…not a separatist, except periodically, for health…love struggle, loves the folk, loves herself…(xi-xii)
Obioma Nnaemeka also presents her version of feminism which she prefers to be called “Nego-feminism” and contends that:
Nego-feminism is the feminism of negotiation; second, nego-feminism stands for no-ego feminism. In the foundation of shared values in many African cultures are the principles of negotiation, give and take, compromise and balance…African feminism (or feminism as I have seen it practiced in Africa) challenges through negotiations and compromise. It knows when, where, and how to detonate patriarchal land mines. In other words, it know when, where, and how to negotiate with or negotiate around patriarchy in different contexts. (Nnaemeka, 377-378, as cited in Walker, 1984).
CHAPTER THREE
Introduction
This chapter identifies echoes of feminism in Zulu Sofola’s The Sweet Trap and Ola Rotimi’s Our Husband Has Gone Mad Again. It explores the extent to which the female characters in the play are oppressed and suppressed by cultures and male domination.It also examines the female characters’ response to the pervasive intimidation and discrimination by male gender as well as the playwrights suggestions for women empowerment and emancipation. `
A Brief Synopsis of Zulu Sofola’sThe Sweet Trap
Zulu Sofola’sThe Sweet Trap dramatizes the age-old battle between the sexes in a different setting, a modern university community in Ibadan. Using Okebadan festival and a party that goes wrong, the play explores the cultural and legalized subjugation and oppression of the female gender, which character such as Dr Sotubo and his friend representing patriarchal domination. Their wives, Clara and Fatima respectively are typical modern educated African women seeking to interrogate and upturn the longstanding relegation of women in Africa. The play opens in Dr Sotubo’s family as she discusses the Okebadan festival with her host, Mrs Ajala who comes to find out the state of preparations for Clara’s birthday anniversary. From the dialogue we find out that the festival is an all-male, legalized mockery of the female organ and Clara insists on forging ahead with the birthday party with or without her husband’s approval. When Dr Sotubo learns of her decision, he barks at her, causing much trauma and pains in her. Meanwhile Fatima who volunteers to host birthday party for Clara challenges her husband’s decision against hosting the party. Eventually, the women have their way with Mrs Ajala strongly supporting them. However, the party is ruined by too much pepper which Fatima mistakenly puts in the rice. In addition, the intrusion of touts from the Okebadan festival finally brings the party to abrupt end. Clara thinks that her friend, Fatima intentionally ruined her party, and refuses to be placated, until her uncle Mr Jinadu calls a reconciliatory committee. The play ends on a positive note as both parties resolve their differences.
CHAPTER FOUR
Introduction
The purpose of this research has been to examine the echoes of feminism in Zulu Sofola’s The Sweet Trap and Ola Rotimi’s Our Husband Has Gone Mad Again. This chapter provides summary of entire work, conclusion and recommendation drawn from the analysis.
CHAPTER FIVE
Conclusion
The research notes that even though the fight for equality with men was being championed in the play by the likes of Mrs. Ajala and Clara, their consequent transition shows that what women need is empowerment. This view is more compatible with the African worldview as evident in Sofola’s play. Hence, the separatists, through their change of view become aware that what women need is empowerment based on proper education, exposure, good reasoning and thought; and not the craving for same sex status with men. The former will enable them to be heard, respected, appreciated and allowed to take important decisions on their own without necessarily relying and depending on their husbands or male counterparts.
Ola Rotimi’s Our Husband Has Gone Mad Again underscores the imbalance of power between women and men as Nigerian society attempts to transition from tradition to modernity. Having come in contact with ideas of Western feminism that challenge traditional ideas about women’s rights, Sofola creates women characters that seek to establish egalitarian relationships with their husbands. Rotimi’s character, Liza is highly educated. Her education and contributions to the households, shows the authors view for women emancipation. Rotimi’s critiques all ideologies and institutions that limit and impose hardships on women. She depicts traditional practices such as wives inheritance and polygamy to underscore how they can become perverted and be used to denigrate women. Ultimately, Rotimi demonstrates that Western feminism in its pure form creates havoc. However, a hybrid of Western feminism and African Womanism that supports egalitarian relationships simultaneously with support for positive relations with men fits more with African womanhood. The attitudes and tools that African women use to achieve these results as portrayed in the play is empowerment through education and skill acquisition.
Recommendations
The analysis of the plays shows that the playwright portrays women as subjugated and maltreated because of gender inequality. It thus suggests that in pursuit of equity and social justice, there should be a constructive change that will enable women to adopt pragmatic and diplomatic approaches especially in Africa, where equality of the sexes is contrary to the people’s culture. The research also recommends that maltreatment of women can only be stopped when the men are enlightened to put aside their superiority complex and learn to recognize the important role of women in the development of the nation as a whole. The research challenges government to and relevant agencies to formulate polices and legislations that fosters symbiotic relationship between the sexes in order to achieve peaceful co-existence.
Works Cited
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- Chukwuma, Helen. Accents in the African Novel. Nigeria: Pearl Publishers, 2003. Non-print.
- Driver J. Feminist Literary Criticism. Johannesburg: Donker Ltd, 1985. Non-print.
- _______ The Broken Calabash. Owerri: Totan, 1984. Print.
- Evwierhoma, Mabel. “Gender Specific Proverbs in Ola Rotimi’s Plays: An Interpretative Analysis. Nigerian Theatre. Vol 6, 1. Non-print.
- ______ Female Empowerment and Dramatic Creativity in Nigeria. Ibadan: Caltop Publications, 2003. Non-print.
- Hawley, J.C. “Writing the Nation: Self and Country in the Post-colonial Imagination. Vol 7. New York, Rodopi, 1996. Non-print.
- Kelly, J. Women, History and Theory. London: Chicago Press, 1984. Non-print.
- Mill, John Stuart. The Subjection of Women. Yale: New Haven CT, 1985. Non- print.
