ABSTRACT

Feminism has been discussed in different contexts with diverse categories and
implications. This is why there has been so much controversy around the idea and
existence of feminism in Africa. Ama Ata Aidoo’s interpretation of feminism recognizes
the true way feminism can be understood in the African context. Ama Atta Aidoo's play,
Anowa, has something special that other writers have to discuss if we wanted to see the
true identity of the African woman and her feminism. The true identity of the African
woman and her feminism. This study explored how women are treated in traditional
African households through analysis of Ama Ata Aidoo's play, Anowa. The study
examined how a play hampers women's autonomy in personal decision-making in
relation to society's acceptance of a man as a husband. The study examined how the play
explores women's autonomy in personal decision-making in relation to acceptance of a
man as a husband in society is made more difficult. Based on this work, the study shed
light on the meaning of femininity and stereotypical images associated with women in
specific African context and their place in the changing world. Descriptive and
interpretive research methods were used to analyse all feminist phrases in Anowa,
leading to insights about feminist ideologies in the work. The piece is therefore examined
within the framework of the theory of feminism and African feminism to confirm or
refute the claims about what was shown in the play Anowa.

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 TABLE OF CONTENTS
ABSTRACT....................................................................................................................................
CHAPTER 1...................................................................................................................................
1.0 Background to the study.........................................................................................................
1.2 Biography of Ama Atta Aidoo and how her play action has influenced the study............
1.3 Statement of the problem........................................................................................................
1.4 Research Purposes...................................................................................................................
1.5 Research Questions..................................................................................................................
1.6 Purpose of Study......................................................................................................................
1.7 The importance of research....................................................................................................
1.8 Limitations and Delimitation................................................................................................
1.9 Synopsis of the Play...............................................................................................................
1.10 Organization of the Study...................................................................................................
CHAPTER 2.................................................................................................................................
Literature Review........................................................................................................................
2.0 Outline....................................................................................................................................
2.1 Introduction............................................................................................................................
2.2 Theoretical Framework.........................................................................................................
2.3 African women perception on feminism..............................................................................
2.4 African culture and feminist values.....................................................................................
2.5 Empirical Review...................................................................................................................
2.6 Conclusion..............................................................................................................................
CHAPTER 3.................................................................................................................................
Methodology.................................................................................................................................
3.0 Introduction............................................................................................................................
3.1. Qualitative procedure...........................................................................................................
3.1.1 Descriptive Design..............................................................................................................
3.1.2 Interpretative Design..........................................................................................................
3.2 Procedure for data acquisition.............................................................................................
3.3 Play Design.............................................................................................................................
3.4 Choice of research topic........................................................................................................
3.5 Choice of play.........................................................................................................................

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3.6 Data collection and recording procedures...........................................................................
CHAPTER 4.................................................................................................................................
Piece interpretation and analysis................................................................................................
4.0 Overview.................................................................................................................................
4.1 Synopsis of the play...............................................................................................................
4.1.1 Anowa Synopsis..................................................................................................................
4.1.2 Description of works in the context of feminist writing..................................................
4.1.3 Elements of feminism portrayed in the play, Anowa.......................................................
4.1.4 Characters in Anowa..........................................................................................................
4.1.5 Theme of assertiveness explored in the play....................................................................
4.2 Prejudice and stereotypes about women.............................................................................
4.3 Research as a solution to a cultural problem......................................................................
4.4 conclusion...............................................................................................................................
CHAPTER 5.................................................................................................................................
Summary, conclusions and recommendations..........................................................................
5.1 Introduction............................................................................................................................
5.2 Summary of key findings......................................................................................................
5.3 Conclusion..............................................................................................................................
5.4 Recommendations..................................................................................................................
Reference......................................................................................................................................

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 CHAPTER ONE

INTRODUCTION

1.0 Background to the study

This study examines some issues of containment, including repression, oppression,

suppression, subversion, and rebellion of women in society. Anowa portrays pockets of

such issues. Specifically, the play focuses on the power of habits and traditions and the

consequences of not following such social principles. Sangeetha, J. (2021) states that if

one takes a cursory look at history and literature, regarding the emerging role of women

in a family as well as in a society, then feminists like Mary Wollstonecraft, John Stuart

Mill, and Virginia Woolf must be recognized for their bold statements about the status of

women in the global society.

Just like surviving in a patriarchal society, African women had to wait for many years

before securing a respectable position, status or identity. According to Allan (1997, p.30)

cited in Acker (1989), “Patriarchy’s defining elements are its male-dominated, male-

identified, and male-centred character”. The author further explicates that “Patriarchy is a

set of symbols and ideals that make up a culture and this patriarchal culture includes

ideas about the nature of things, including men, women, and humanity with manhood and

masculinity most closely associated with being human and womanhood and femininity

relegated to the marginal position of ‘other’. It is about defining women and men as

opposites. It is about the naturalness of male aggression, competition and relegation. It is

about the appreciation of masculinity and masculinity and the devaluation of femininity.

That is, males and females are not the same by nature, and that masculinity is superior to

femininity. Ama Ata Aidoo is one of the few African thinkers who has been advocating

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for educating the African woman to make her independent. Anowa's efforts and

demeanour in the play confirm that she is not ready to be relegated to the background as a

female as most of her behaviours are seen as abnormal because they run contrary to what

society sees as right. Commenting on Anowa, Djimet and Koussouhon (2015) opine that,

“Female characters attitude highlights a determination to change some traditional beliefs

concerning women” (p.194). They continue that, “A woman is not defined as an object

that keeps silent and leaves the responsibility to men alone, but she is verbally equipped

to voice her concerns and ambitions” (Djimet & Koussouhon, 2020, p.194).

1.2 Biography of Ama Atta Aidoo and how her play action has influenced the study

Ama Ata Aidoo (originally Christina Ama Aidoo) was born on March 23, 1942 in

Abeadzi Kyiakor, South Central Ghana. She grew up in the Fanti royal household. Her

father, an advocate of Western education, sent her to Wesley Girls High School in Cape

Coast from 1961 to 1964. In 1964, she enrolled at the University of Ghana, Legon,

where she received a Bachelor's Degree in English. While at the university, she directed

her first play, The Dilemma of a Ghost (1965). The play is about a Ghanaian man, Ato,

who returns home from the United States with an African American woman. He has not

consulted his family about the marriage, and the conflict between the two cultures is

played out through the characters' interactions. The man himself is torn between his

Ghanaian past and his acquired American ideals. The tension between the communal

and traditional Ghanaian value system and the individualistic American culture is

further explored in the clashes between Ato's mother and his American wife. At the end

of the piece, mother and wife are reconciled and the dilemma of the title is solved. Her

second play, Anowa (1970), is more masterful. It is an adaptation of a traditional

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Ghanaian folktale. Anowa, the heroine, rejects all of her parents' suitors and instead

marries for love. Her husband Kofi Ako turns out to be morally weak. He responds to

their criticism of his decision to keep slaves by treating them cruelly and amassing even

more slaves. The parallels between the slaves and wives are developed, and finally

Anowa realizes that she is truly alone, rejects her family and husband, and is unable to

bear a child. The play ends with Kofi's attempts to banish her and attacks on her

character being thwarted, though her victory is Pyrrhic. She publicly claims he is

impotent. Kofi Ako commits suicide, unable to bear the shame of having his reputation

shattered. Anowa also kills herself because she cannot find any meaning in her desolate

and lonely existence. Aidoo has written novels, many of which deal with the tension

between Western and African worldviews and the relationship between the oppressor

and the oppressed. Some critics have complained about her repeated attacks on the

West. She is also a poet and the author of several children's books. Behind every great

achievement there is a motivation, so the core idea of every work should not be

underestimated. Her inspiration for the play Anowa, she said, is that in the theatre,

relationships are all around us, and many don't work very well, and women don't have

reproductive rights. A friend of mine came across this circumstance. And I thought it

would be something I could address in a drama (Anowa, 2005). The play was written to

address a current situation. Although this play was written several years ago, the

realities it depicts still endure. This makes it valid and authentic even today. The

principles of each individual are very important and the author of her study, Ama Atta

Aidoo, believes in feminism and has used this medium to advance the women's agenda.

For Ama Atta Aidoo, feminism represents a voice, personal integrity, self-assertion,

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socially reproductive use of the erotic, and recognition of the value of women's

productive and reproductive labour (Selasi, 2015). The main focus is on feminism and

its use or relevance and the issue of male supremacy over women in Africa and other

areas of their lives.

Aidoo (2007) argues that the gender myth, created through a collaboration between

traditional orality and colonial indoctrination, imprisons the African woman depicted as

Anowa in an inescapable prison. Anowa's character, for example, represents a rejection

of cultural norms in more ways than one. When she chooses Kofi Ako as the man she

will marry, she does not do so because he will provide her with a culturally acceptable

lifestyle, but instead steps out of that oppressive notion and marries him solely based on

her feelings for him. In the play, Anowa is the protagonist. The playwright used them to

project all of their positions for feminism.

As Kofi and Anowa's relationship begins, he quickly becomes aware of her dominating,

rebellious nature. Rejecting the traditional cultural practice of a woman being a

housewife, Anowa quickly adapts to life on the streets with her husband . Even when

Kofi suggests that life on the streets will become increasingly difficult, she resists,

claiming she enjoys it. This is to let the parents know that she is no longer the shy child

they thought she was. It was also to break free from parental bondage. Sometimes

parents have a hard time accepting that their children are growing up and need to be

seen in that light. Although adulthood is 18 or older in most countries, as long as you

still live with your parents you will be treated like the little child you are.

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Anowa's father doesn't care who Anowa marries and leaves the decision to his daughter,

because she (Anowa) has the right to judge the woman's role as wife and mother.

Asserting the right to self-reproduction is very important for any individual as it defines

who you are and what you stand for. This is a realization that Anowa replies to the

Badua that I will walk so well that I will not find my foot here again. There are tasks

that are seen as belonging to women, such as housework and other domestic

responsibilities. She takes on Kofi Ako, who she couldn't stand, in her effort to

challenge the status quo.

He claims that Anowa talks excessively, consumes alcohol, and even dresses like a

male. "Whatever I am, whatever I do, I believe is right," she tells Kofi Ako. She

performs the majority of it in defiance of patriarchy. Anowa is open about her erotic

lifestyle. She feels that it should be made public so that everyone may see it. She

informs her parents, "I've found a man, and I want to get married." Women should have

the power to decide when it comes to reproduction. They ought to decide when they

wish to begin reproducing. By preparing her belongings to join Kofi Ato, Anowa

demonstrates her readiness. This may be connected to the womanism theory. The

playwright's feminism may have grown out of her time in England and her friendships

with feminist poets she believes in, including Audre Lorde. Ama Atta Aidoo promotes

women's emancipation via adherence to some progressive African traditions and

customs in her works (Maros & Juniar, 2016). This quotation is identical to what she

portrays in her play.

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1.3 Statement of the Problem

Majority of the very well-known African writers like Ngugi wa Thiongo, Ama Darko,

Effua Sutherland and Ama Ata Aidoo on the international stage are more concerned about

the societal construct of the female identity as evidenced in their works. Ama Ata Aidoo

in her post-colonial play, Anowa, presents themes pertaining to how the identity of the

female is constructed.

The protagonist, Anowa, a female character, portrays how some women develop their

personality and selfhood against the societal stereotypical images of women. Fahmeda

(2021) states that, “Women are not the subject of distress and debasement, they have

strong power to establish their position, freedom and recognition” (p.14). Many scholars

have conducted studies on the play, Anowa, from different perspectives. For instance,

(Owusu, Edward, Adade-Yeboah, Asuamah, and Appiah, Priscilla, 2019) in their paper:

“The Illiterate African Woman as Depicted in Ama Ata Aidoo’s Anowa” centres on the

attitude of the illiterate African women. Again, Nyamekye, Ankrah, Nyamekye and

Frimpong (2015) discuss the cultural practices and beliefs in Anowa, in their article “The

Significance of Cultural Practices and Beliefs in Ama Ata Aidoo’s Anowa and Efua

Sutherland’s Edufa.” Also, Bin Kapala V.B (2022) takes a swipe on postcolonial

perspective on Anowa in his article “A Postcolonial Reading of Anowa by Ama Ata Aidoo

and the Hungry Earth by Maishe Maponya”. However, several aspects of the play are still

unexplored despite the range of claims, opinions, and replies that have already been made.

This is an indication that the argument can still be battled out at a different level. Hence,

this study does an examination of feminism in Ama Ata Aidoo’s play, Anowa.

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1.4 Research Purposes

The investigation's goals include:

 To determine how feminism is represented in Anowa.

 To assess the theme/element of assertiveness of women in our society.

1.5 Research Questions

 How are elements of feminism portrayed in Anowa?

 How is the theme of assertiveness explored in the play?

1.6 Purpose of the Study

This research attempts to ascertain how the female writer, Ama Atta Aidoo, has been

able to add her voice through the play, Anowa, to portray elements of feminism. Again,

through the analysing some of the characters, we wanted to know how the playwright

used the character of women in his work to promote women's empowerment and

emancipation from stereotyped perceptions.

1.7 The importance of research 

What makes this study different from other scholarly works on Anowa is that it seeks to

highlight the elements of feminism and how women assert their cultural and economic

roles in African society as represented in literature. The work will help further research

on the topic of feminism.

1.8 Limitations and Delimitation

The study is limited to Ama Ata Aidoo’s postcolonial play, Anowa. It offers a close

reading and interpretation of the play as a way of exploring elements of feminism and

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instances of women assertiveness in our society. Excerpts from other scholarly works will

be carefully selected to illustrate feminism and assertiveness of women.

1.9 Synopsis of the Play

Ama Ata Aidoo’s Anowa, published in the 1970, tells a grimy story of its title character.

Anowa is set in the 1870s in a Ghanaian village called Yebi. It portrays one of Ghana’s

folk tale tropes: the daughter who refuses to conform (Munbrun & Aidoo, 1971). Being

very much aware of Africa’s political and societal turmoil, Aidoo, a prolific Ghanaian

playwright, uses Anowa to question the links between men and women, husbands and

wives, women and motherhood, mothers and daughters, society and the individuals

comprising it, and the state of ancient traditions going into the future (Addo & In, 2013).

1.10 Organization of the Study

The first chapter of this study provides a summary of the play, discusses the background

of the study, and the statement of the problem. It also includes the statement of the

research objective, research question, and purpose of the study. Again, it describes the

importance of the study and elucidates the delimitation and limitations of the study as

well as discusses the organization of the research. The second chapter of the study

reviews the literature relevant to the study. This chapter delves into the theoretical

framework, conceptual basis, and other relevant subheadings for inclusion in empirical

evaluation. A summary of the main findings of the literature review is also presented. To

explain how the research is conducted in chapter three, the different methods used and

the design used by the researcher in collecting data for the study are also discussed. This

chapter also examines the researcher's motivations for making certain choices, hence why

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the theme and play were chosen, and will attempt to justify why the playwright's

contribution is valuable to society.

Chapter four will provide an overview of what is covered in this chapter, and it will

present further discussion of the conclusions or findings of the research

questions/objectives. Discussions will include interpretation of results relative to previous

literature/results, theory or logical inference. Researchers will evaluate each finding and

consider the implications for the current theoretical position on the issue as well as

educational practice, and finally point out and discuss other unintended findings. of the

understudy. Chapter five will provide an overview of the research methodology. A

summary of the main findings of the study will also be provided in this section.

Researchers will indicate exactly where they stand in relation to the theory or question.

The researcher will also indicate whether the results confirm or disprove the theory or

question. The researchers will also indicate their general view of the study (what's new?

What did the research show? What is the general impression of the study's results and

conclusions?). The researcher will further indicate whether the original problem was

better understood or solved as a result of the study. Lastly, the researcher will make

recommendations for policy and practice and also attempt to provide suggestions for

future research based on the findings of the study.

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 CHAPTER TWO

LITERATURE REVIEW

2.0 Outline

This chapter reviews the literature relevant to the research. This chapter is divided into

sections to cover important aspects of the review such as the theoretical framework and

other relevant subtitles including an empirical overview. A summary of the main findings

of the material under review is indicated in connection with the other scholarship. This

chapter will present a literary critical review of feminist elements in Ama Ata Aidoo's

Anowa as well as feminist values in African and diaspora societies. 

2.1 Introduction

Anowa (1970), Aidoo's second work and the subject of this study, was not produced for

many years after its publication. The film tells the story of a young woman Fanti who,

after six years of puberty, remains single due to being rejected by all the suitors proposed

by her family. To the disappointment of her parents, she chooses a young man, Kofi Ako,

who is known for being lazy. At the wedding, Anowa and Kofi are forced to leave their

village, Yebi, to the mockery of the townspeople, including Anowa's mother. In fact,

Anowa, has been subjected to various scholarly views and reviews from scholars of

diverse backgrounds. They conducted their research and made their points on the basis of

theory and from their own points of views.

In the view of EYRE (2021), the eponymous character, Anowa, is a morally inclined

woman who vehemently opposes the abuse and abuse of power by men and some women

in a society that escapes and encourages sexist exploitation and oppression. Thanks to her

13
strong-willed personality, she can even decide to marry a man of her own choosing

instead of one forced by her parents:

Mom, Dad, I met a man

Want to get married …
You say you found the man you want to marry...
Kofi Ako asked me to marry him
And I will too, she said (p.14)

Similarly, Nyamekye et al. (2015) affirm in their article, in "The Importance of Cultural

Practices and Beliefs in Anowa of Ama Ata Aidoo and Edufa of Ehua Sutherland",

Anowa's efforts and attitudes in the play reflect her as a woman determined to resist

social pressures against women, highlighting her as evidence of her parents' refusal to

marry. A proposed husband, but chooses a husband of his own without the consent and

blessing of his parents and elopes. Also, she vows never to come back no matter what.

She says:

“I will walk so well that I will not find my feet back here again.”

A very assertive and wilful character uncommon among women, especially, African

woman living in African society. Ama Ata Aidoo (1999) expresses a similar view,

referring specifically to Armah's Oyo. “a whiner, unreasonable, plain unreasonable. Her

mother is a greedy old bitch, and Estella is her fragrant, lazy whore," quoted in Asiedu

A.M (2010).

2.2 Theoretical Framework

The theoretical framework will present and explain the theory that the research problem

under study hinges. It will also link the researchers to existing information. In this study,

“Feminist Theory” will be the theoretical framework. Feminism is seen as one of the

oldest movements in global history. The Merriam-Webster dictionary defines feminism as:

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“Believe in advocating for political, economic and social equality between men and

women, especially through organized action that supports the rights and interests of

women.” In the words of Melanie Lord (n.d.) , feminism is the recognition and criticism of

male superiority coupled with female superiority to change it. Feminism as a movement

seeks to ending gender discrimination and bringing about gender equality. Feminism, as

cited by Badabon and Esperanza (2022), s a movement that seeks to fight for women’s

right and projects their social status.

Within this goal are many kinds of feminism. Feminism he divided into four "waves".

First wave feminism, second wave feminism, third wave feminism, fourth wave feminism.

This research focuses on second wave feminism. The second wave of feminism came in

the 1960s and his 70s. She was part of the first wave of feminism, challenging the role of

women in society. The movement may have presumably come about with Betty Friedan

through her published book, Feminine Mystique in 1963. Activists focused on institutions

that were holding women back. I took a closer look at why women are oppressed.

Traditionally constructed gender and family roles were also questioned. Feminist activists

seek to counter the argument which treat biology as fundamental and plays down

socialization which have been used mainly by men to keep women ‘in their place’

(Yuracko, 1995).

Again, the second-wave feminists praise biological traits as basis of supremacy rather than

inferiority. Hooks (2000, p.122) states that “Patriarchal power, the power men use to

dominate women, is not just the privilege of the upper and the middle-class white men, but

the privilege of all men in our society regardless of their class or race.”

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The feminist goal is to change the perception of women as insignificant strangers. This

theory proposes that women see themselves as valuable human beings with the same

privileges and rights as men. Feminists therefore encourage women to define themselves

and assert their own voices in the fields of politics, society, education and the arts. wants

to create a society where women's voices are valued (Selasi, 2015).

Many scholars argue that feminism plays a role throughout Anowa, but agree that

feminism is present to some extent. represents a refusal of her decision. When she chose

Kofi Ako as her husband, she didn't marry because he offered a culturally acceptable

lifestyle.  (Abu-mahfouz, 2021).

As Kofi and Anowa's relationship begins, he quickly realizes her dominant and rebellious

nature. Anowa rejected the traditional cultural practice that a woman was a housewife

and quickly adapted to life on the road with her husband. Even when Kofi hints that life

on the road will only get harder, she defends herself by saying she likes it. (Rattray,

1930)

Aidoo in an interview with Azodo talked a lot about women's literature. When asked

how she defines good literature from a feminist perspective.

She said:

I wish it is something that I can deal with in a more substantive

way. Literature that deals with women's issues, I mean, with
women and our position in history, but goes beyond just being
about women. First of all, we have to decide what a feminist
would consider literature and good literature. But I think that a
literature that affirms women, representing us as articulate,
three-dimensional beings, not flats, not caricatures, a literature
that doesn’t portray us as being dumb or inactive. You know
what I am saying? A literature that affirms women, that for me is
good feminist literature.

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The interviewer further asked if she would describe African feminist fiction as radical,

Marxist, liberal, or militaristic, Aidoo asserting that if it were a feminist novel it should

be up. She's probably necessarily an activist. It must be socialist. I don't know about

Marxism. If it is socialist, it is probably Marxism too  (Selasi, 2015). There is a certain

level of class consciousness among women and she thinks that just because a novel is

written by a woman does not mean it is feminist. A book written by a woman is just a

book written by a woman. That doesn't make it feminist, because feminism has a specific

category (Biana, 2020). So, a female writer is just a female writer. A book written by a

woman is just a book written by a woman. When we say that literature is feminist, we are

exactly talking about literature created from a feminist point of view. This means that

literature, if it is feminist, has done so much more; it affirms women. If you're writing a

book about women that portrays women (Peter, 2010).

Good feminist literature is woman-centred work. Therefore, any play that portrays

women in this light can be called a feminist play. It should be noted that not all works

written by women are feminist. So, we can say that a work is a feminist work while the

writer is not. It should be noted that a feminist can be either a man or a woman (Yifei,

2016).

The speech between Aidoo and the interviewer explains why some women writers are

women-centred but refuse to be labelled feminists. Literature that reflects women's

causes, even when written by a man, is called feminist literature. Copenhaver (2002).

Examples of such works are In the Chest of a Woman by Efo Kodjo Mawugbe, A Crown

for Udoma by Peter Abraham, God's Bits of Wood by Sembene Ousmane among others.

17
These writings recognize the full and complete woman in a state created by God (Srilata

& English, 2020). When predictions about women are positive, it is feminist literature.

Likewise, if literature foolishly projects woman, then she is disqualified (Peter, 2010).

Chinua Achebe (Things Fall), Cyprian Ekwensi (When Love Whispers), Wole Soyinka

(Performers) and Ngugi wa Thiongo (Blood Petals) are examples.

These authors focus more on women's physical gender characteristics and their

dependence on men, among other negative issues. To highlight the woman's plight, the

writers chose to write against their plight because they had no other way to go

(Rajendran, 2020). Since then, they have used the power of the pen to express their

disapproval of the treatment that has befallen them. However, when a woman writes, her

content is often viewed through a critical lens (Guo, 2019). For example, when Ama Ata

Aidoo, who has to apologize for writing a love story, changes beyond the general theme

of love in the novel, it should be remembered that her coin themes are all about social

issues relevant associations to date. Therefore, I believe that women not only write about

their fantasies, but use whatever means they have to reach the world through writings on

women's issues for decades. Educational, entertaining and informative literature (Holtz-

Bacha & Norris, 2001). Disseminated information has contributed to the development of

a number of national policies. The Inheritance Act of Ghana may be consulted. It

identifies areas such as politics, marriage, family and employment where women are

discriminated against, and sets out specific goals and actions to be taken to facilitate

women's employment. create a global society in which women enjoy full equality with

men and fully realize their rights human rights are guaranteed (Kleineljmern, 2018).

18
Ghana's Federal Succession Act may draw inspiration from women's articles, opinions

and comments on women's advocacy, novels, novels, etc. Aidoo insists that the things

we write deserve to be considered and judged seriously, just like those of our male

colleagues, because it was the act of creativity that cost us so much (Selasi, 2015). As a

result, the works of female writers are considered feminist to advance the argument of

women's empowerment. Since African feminism does not exclude Western feminism, it

cannot be said that it did not have an impact, although some African women deny it. Her

writings have had an impact on the lives of several African women.

2.3 African women perception on feminism

As quoted by Susan Arndt (2002), Ama Ata Aidoo, one of the famous playwrights of

Ghana also rejected this feminist label. I won't object if you call me a feminist, insists

Ama Ata Aidoo. She further confirmed:

But I am not a feminist because I write about women. Are men

writer’s male chauvinist pigs just because they write about men? Or is
a writer an African nationalist just by writing about Africans? Or a
revolutionary for writing about poor oppressed humanity? Obviously
not… no writer, female or male, is a feminist just by writing about
women. Aidoo, 'Unwelcome pals and decorative slaves' (1982).

However, in an interview on the BBC TV show Hard Talk on Tuesday 22 July 2014,

Aidoo was asked if she was a feminist (Selasi, 2015). She also has the following to say

about her views as a feminist. She said that feminism is different in different contexts,

but a feminist has always been someone who believes in the potential of women to

achieve the highest possible level of development. In her conclusion, she states that

feminism is an ideology and that it depends on how it is conceived or negotiated on the

details of a particular environment (Selasi, 2015).

19
This contradicts his previous statement. Well, one can only say that change of mind is a

process that takes place over the years. She is one of the leading writers on feminist theory

through her writings. This led her to be seen by some critics as a radical feminist.

In addition, although some women have said that feminism is the problem and do not

want to be involved in it, some also accept it and support more (Mylene, Hega &

Evangelista, 2020).

Ama Ata Aidoo posits:

When people ask me rather bluntly every now and then whether I am a
feminist, I not only answer yes, but I go on to insist that every woman
and every man should be a feminist especially if they believe that
Africans should take charge of African land, African wealth, African
lives and the burden of African development (Aidoo, The African woman
today, 1998).

This contradicts his previous statement. Well, one can only say that change of mind is a

process that takes place over the years. She is one of the leading writers on feminist theory

through her writings. This led her to be seen by some critics as a radical feminist.

In addition, although some women have said that feminism is the problem and do not

want to be involved in it, some also accept it and support more (Amadiume, 2001).

She does not copy a European culture. She said this concerns female leaders who have led

their people in various African countries. All feminism, she said, must be denounced as

imperialism, which erases from memory long stories of women's resistance to local

patriarchies. Many women's uprisings around the world predate Western feminism or

occur without any connection to Western feminism (Zaida, 2010). She says this in

reference to the female officials who ruled in the early 16th century. Queen Amina of

20
Zazzau and Queen Nzinga can be mentioned for their role in the family and in society

(Zaida, 2010). These women lived and died before feminism was born in Africa. Some

people think they would be known as feminists if they lived in this day and age. Others

think otherwise.

I don't think these women became feminists, primarily because of different definitions of

feminism. Using Filomina Chioma Steady's definition of African feminism, these women

did the opposite (Akinbobola, 2020). Feminism seeks to be empowered but does not covet

power and is conscious of the expense of others (Zaida, 2010). This woman shares a

success story about Africa's pre-colonial and colonial history. In addition, we must ask

ourselves to what extent women assert themselves in our society (Zaida, 2010).

At present, a great diversity has arisen in the theory of African women's feminism. These

breeds are not meant to be divided on the female front, but rather an extended range to

accommodate different thoughts, perspectives, views and ideas (World Bank, 2014).

These theorists belong to different religions, classes, political motives, and personal

beliefs. According to Trinh Minh-ha, the rejection of feminist labels by most African

women gives way to the expansion of feminism according to their experience. (Imam

Nigeria et tal., 2006). Third World women sometimes have to reject labels because

opening up the naming space in feminism is so important (Odhiambo, 2014). This proves

that women’s needs are not the same everywhere.

It is important to note that Aidoo's early works were television series and short stories,

which meant that her recognition was often overshadowed by other West African female

novelists of the time (Ekpong, 2011). Ama Atta Aidoo portrays rebellious heroines, as in

21
the play, Anowa. While Nana Yaa withdraws into the space of individualism without

remorse, Anowa is haunted by emotional instability and the pain of not having children.

(Hand, 2010). Anowa is so independent and strong-willed that everyone, including her

husband, calls her a witch.

Kofi Ako: I should have known that you were always that clever.

Anowa: And certain things have shown that cleverness is not a bad thing.

Kofi Ako: Everyone said you were a witch; I should have believed them.

(Phase 3, p. 125)

All strength and confidence crumbled at the thought of motherhood. Anowa's

commitment to society's definition of female happiness is serious (Ahikire, Musiimenta,

& Mwiine, 2015). So she can't completely resist the fact that she is precious with or

without children.

The dream of motherhood fascinated her when she could not reconcile what was supposed

to be true happiness for herself even with the power and financial freedom (Day, 2016). It

was Anowa's struggle with the notion of femininity. She shows no commitment to the

supposed women of society (United Nations, 2010). An example is Nana Yaa not trying

another chance to have a baby, to see if she can give birth to her son.

She is not ready to accept having children, which will take her away from her dreams. It is

common for women to give up on their dreams or disappear from the limelight after

getting married and having children (Chrappah, 2021). Nana Yaa wouldn't trade her

dream for another social role that isn't what she wants for her life. She is willing to fight,

resolute, resolute and steadfast in her dreams, even in the face of death.

According to her, there is a reason for struggles, but suffering must be creative. It has to

22
produce something good, substantial, meaningful. Something loving and lasting" (World

Health Organization, 2018). The above is supported by Ama Atta Aidoo, The Girl who

Can, one of her short stories that shows how easy it is to change stereotypes about small

feet with actions rather than words. According to Akan Fanti tradition, a girl should have

big, fleshy legs, not skinny legs like a little girl (Asare, 1998). Slender legs are considered

unnecessary for carrying out maternal responsibilities, such as supporting a woman's hips

during pregnancy. However, only thanks to sports, the little girl proved the importance of

owning small feet, which clearly changed this negative mentality (Asare, 1998).

Aidoo has a writing culture practiced from a post-colonial feminist lens, where she tries to

consider local women's issues at a higher level like colonial times. Ata Aidoo believes that

feminism has added an understanding of our place in history to the discourse (Aidoo,

“Facing the Millennium,” 1996). This is where Aidoo's feminine ideas find expression in

the literary genres it produces. She seems to take a moderate stance by identifying as a

feminist or woman. She points out that her thinking about women and feminism has

evolved over time (Webb, 2010). 

2.4 African culture and feminist values

As already mentioned, Africa is made up of different cultures. It's part of the language that

can't be ruled out. It can be easily said that culture is a way of life. These include

recreational, social, commercial and religious beliefs. You are the culture you wear,

regardless of skin colour (Ogundipe-Leslie, in citing Feminism in an African Context,

Brookman & Gyekye-Ampofo, 2019). In this way, culture defines an individual's identity.

Cultural issues should not be underestimated, but should be considered and deepened.

Internationally, African culture is associated with backwardness, barbarism and

23
helplessness, while Western culture is associated with emancipation (Amadiume, 2001, p.

57). These claims have worked in a variety of ways, but through education and

information, most of these illusions have been debunked. African culture may be liked by

anyone, male or female. It may or may not be the best. Culture is dynamic, so it has

strengths and weaknesses (Hoffmann & AAmaral, 2009). It can favour one and oppress

the other, but for the most part this applies to women. In many African societies, women

are looked down upon and viewed as second-class (Hoffmann & AAmaral, 2009).

Western women tend to define feminism by focusing solely on sex, but African women

understand feminism as more holistic and multifaceted, encompassing socioeconomic,

religious and cultural aspects. chemistry (Selasi, 2015). For them, therefore, feminism

should not have one agenda but multiple agendas that meet the needs and demands of

women across Africa. 

In Ghana's Akan society, when a male child is born, it is said “w'awo nipa”, which means

a human being is born. This goes further to affirm how men become heads of women,

which is a patriarchal system "Gyan et al., 2020". I believe it has been since the creation

of the world, and so there is no question of male domination over females. 

Mythologically, most critics see women and their relationship with their
spouses and the entire society as a fair description of their status through
the ages. Biblical account has it that it was the woman who first tasted the
forbidden fruit and also made the man to taste. The woman is, therefore,
adjudged to be cursed by the creator Himself. While some feminist writers
query this natural dichotomy between the man and the woman, some
writers, especially, within the African feminist group, are influenced by
this mythological justification by the Bible. They seem to suggest too, that
even the domestic division of labour practiced in African culture based
on sex and gender was ordained by God and therefore to change this
would be to antagonize the creator (Ode, 2011, p. 81)

24
This is a truth held by most Africans that the divine order of nature must not be altered.

Feminism seeks complete liberation from male domination, whereas African feminism

seeks support for male development (Wyrod, 2009). This clearly shows that women

recognize the position of men, and it is not that men are superior to women, one of her

feminist values of liberal feminism is that men and women created equal by God and

therefore deserve equal rights. They believe women should have the same skills as men

and should be given equal opportunities in the political and economic sphere.  (Ode,

2011, p.87).

In my opinion, these radical feminist values do not exist in African culture. From his

previous claims on African feminism, we can see what is essential for Africans through

his feminism (Ahikire, 2006). This value system seeks to change the natural order of

women in order to be persuasive. Marriage is an important aspect of African cultural

fabric. Marriage is the union of two consenting adults and a family. Not limited to

individuals. Marriages are celebrated in different ways depending on the culture of the

people involved. In the traditional structure of Ghanaian society, when the intention of

marriage is made from one family to another. Prior to approval, a background check will

be conducted to determine family status. 

There are three types of marriage prevalent in Africa: Ordinary Marriage, Islamic

Marriage and Traditional Marriage. In summary, Nfah-Abbenyi cites Davis and Greaves,

who distinguish Western feminism from Africa in the context of feminism (Selasi, 2015).

The obvious connect between African and western feminism is that

both identify gender-specific issues and recognize women’s position
internationally as one of second-class status and otherness and seek to
correct that. An international feminism to which various regional

25
 perspectives are contributed seems acceptable to African women while
the European/American model is not. The failure of western feminists
has been to deal with issues that directly affect black women and men
(South Africa as the most overt example). The term feminism often
needs to be put into perspective when used by most African or other
third world women (Nfah-Abbenyi, 1997, p. 11).
2.5 Empirical Review
As a countermeasure to these negative portrayals, women writers have sought to portray

women in more empathetic and dignified ways (Anyidoho, 2016). Owusu (1990)

describes an ongoing attempt by women writers such as Ama Ata Aidoo to rescue African

women from the fringes of African literature and restore their flesh, blood, voice and

authenticity. This attitude is confusing to Kofi because traditionally women don't want a

life of "hard work" (Nyanhongo, 2011). A study according to Yuracko (1995) reads that

feminist activists in the second –wave seek to counter the argument which treat biology as

fundamental and plays down socialization which have been used mainly by men to keep

women ‘in their place’ (Yuracko, 1995).

Another study revealed that, the second-wave feminists praise biological traits as basis of

supremacy rather than inferiority (Moran, 2004). Hooks (2000:122) states that “Patriarchal

power, the power men use to dominate women, is not just the privilege of the upper and

the middle-class white men, but the privilege of all men in our society regardless of their

class or race.” McBride D.A (1998) said that while some women found feminism

problematic and did not want to be labelled with it, some women embraced feminism and

were more, if not all. He revealed that many women advocate becoming feminists (Alives,

2012). His research shows that feminist values about sex are radical cultural feminist

values. Radical cultural feminists view sex and male penetration as male domination.

They see links between sex, female subordination, rape, and other forms of abuse.

26
Rain et al. (2010) in their study suggested that women should control their sexuality. You

have to decide and set when you want to have sex. Also, a man should respect her

woman's needs and her desires and not take advantage of her during her vulnerable times. 

2.6 Conclusion

The African female writer, Ama Ata Adioo, through her literary works has been

identified as one of the voices advancing feminism using drama as a vehicle to send this

message, because it makes it more visual. In fact, culture is dynamic to its people,

regardless of the malice said about them. A borrowed culture may not meet people's

needs. Therefore, as African women, we need to focus on advancing the women's

agenda.

27
 CHAPTER THREE

METHODOLOGY

3.0 Introduction

This chapter describes the methods and types of study designs used by researchers in

collecting data on the feminist elements in the play, Anowa. The information gathered

shows how feminist ideals are exemplified in current work. The final results were used to

justify the research goals by collecting, analysing, interpreting and reporting the data

according to the literature review and the goals set for the study. Qualitative research

methods are the most suitable research methods for data collection for this study. A

qualitative methodology is used to interpret relevant excerpts from Ama Atta Aidoo's

play Anowa. Use qualitative methods to reach your end goal. The medium used to arrive

at the results is text analysis. specifically, interpretation of elements of feminism through

characters in Anowa. This methodology is noteworthy to the study because the speeches a

character makes, what a character does and what is said about a character reveal the true

intentions and beliefs of a writer. Through these modes, researchers have been able to

glean different views and opinions on feminism and its implications for Africans.

3.1. Qualitative procedure

This study uses two forms of qualitative methods. Descriptive and interpretive

3.1.1 Descriptive

The goal of descriptive design is to gather information. The researchers’ capacity is to

record factual details based on the research objectives and research questions the

researchers come across or learn during the interpretation of the play Anowa. The focus

of descriptive study is on behaviours, circumstances, structures, distinctions or

28
associations, beliefs held, current processes, and tendencies that will become apparent.

It's a style of artwork that examines and explains a single phenomenon with a curvature

(Cotter et al., 2017). In gathering the facts, some crucial approaches must be used. This

study uses two forms of qualitative methods. Descriptive and interpretive

The method of this type, the study focuses on how texts are interpreted using definitional

variables such as opinion, development and situation in the context of perceptions of

African women and their feminism. Feminism has been around for some time, but its

problems and effects are still felt not only in Africa but around the world.

3.1.2 Interpretative

The method of this type, study focuses on how texts are interpreted using definitional

variables such as opinion, development and situation in the context of perceptions of

African women and their feminism. Feminism has been around for some time, but its

problems and effects are still felt not only in Africa but around the world, arguments,

claims, as well as repression, oppression, oppression, subversion, and rebellion of women

in society, as shown in Anowa, are reviewed according to the researchers' understanding

in order to attribute them to epistemology. This design is convenient for researchers

because most results are based on their perception, personal experience, and subjective

judgment. Such results may or may not be determined systematically and empirically.

However, researchers go to great lengths to avoid personal bias, malicious, and

unverified views.

Interpretive design refers to the work of drawing the outline of the play "Anowa". The

researcher's perspective becomes an important approach in explaining the work. For

feminist writing purposes, precise meanings are set to state the facts. Delving into the

29
hearts of the women in the play gives us a necessary element of feminist belief.

Researchers also use this type of design to define their understanding of a theory. 

3.2 Procedure for data acquisition

The main approach to data collection for this study is reading the play Anowa.  Reading

will be helpful to extract opinions about feminism. The two types of research designs

chosen will help interpret Anowa in the light of feminist philosophy. Also, library

searches will be conducted to find works by other scholars who have written reviews of

plays with feminist perspectives. Research from the library will provide data on

feminism, women writers and the quest to empower other women. It also helps you delve

into some cultures in Africa and how women are treated in Africa. Libraries provide

researchers with information about the playwright's background and intentions in his

work. Some of the libraries that are used are the Valley View University Library, the J. B

Danquah Library, the Nsakina Library, the Institute of African Studies Library and the

Centre for Gender Studies and Advocacy. Another important library used is the online

library provided by Valley View University.

3.3 Play Design

Plays are read, characters are identified, and categorized into stereotyped, marginalized,

and contemporary groups. This is because it is the concept of the African woman that

uses the Western paradigm of feminism. Character sketches and analyses are done using

various theories of Western and African feminism. In the play, two women, two men, that

ring. For research purposes, one of these female characters will be analysed. This is

Anowa, the daughter and only child to both parents (Osam as the father and Badua as the

mother), to whom Kofi Ako proposes to marry. Anowa, the eponymous character, will be

30
central for the analyses of the text. The analysis will be confined within the parameters of

the second-wave feminism. Results are reported with, among other things, subjective

arguments and personal feelings. Counselling is primarily based on subjective

interpretations of women's status in society and logical reasoning (oppression,

oppression, oppression, subversion, rebellion). 

3.4 Choice of research topic

There are several factors why research is done, but the key is personal interest in the idea,

in our case feminism.  Part of our interest also hangs on the global call for women's

freedom in all walks of life. As adults, we have heard many arguments about feminism -

most of them negative and provocative. A popular saying goes, "I know my rights are

being defended by some women. What men can do, what women can do, and more" was

the motto of our time. Then again, during one of the talks on campus, the facilitator made

time to share why women are demanding for their empowerment. Our interest in the

theme of feminism was, once more, tickled. All these have been the researchers'

motivation for investigation of the theme, feminism. Researchers attempted to use this

medium to examine elements of feminism and how assertive women are, particularly in

the context of Africa and the diaspora, through Ama Ata Aidoos’ Anowa.

3.5 Choice of play

A popular opinion held by many is that the story of Africans is best told by Africans.

Likewise, the writings of an African woman reflect the identity of the African woman

and her condition. We cannot ignore the attitudes of women around the world. Anowa is

the work used in her current study. The play was discovered through an extensive study

of African plays. The choice is due to the fact that the playwright is a female, and also the

31
play has pockets of feminists’ ideals. The playwright has done extensive work through

her writing to highlight how women are pigeon-holed and reduced next to nothing in their

homes and society as a whole. Through their works, African writers – both men and

women - work hard dependably and subtly to project this theme, sometimes vehemently,

hence the tag Feminist. Efo Kodjo Mawugbe, the plays of Peter Abraham and Usman

Semben are, in our view, other relevant materials for assessing this state of African

women in a global context through sociocultural and economic lenses. 

3.6 Data collection and recording procedures

Two methods are used in the qualitative sampling method. Random and targeted

sampling. The three-phased play which captures the feminist clause portrayed will be

considered for interpretation by the researchers. Any phase of the play will be

purposively selected to reflect how elements of feminism are portrayed, and how the

music of assertiveness is played in the play. During close reading of the text and other

materials, cogent points that resound with the topic of feminism will be noted. Notes are

written in reading materials and notepads or exercise books. Instruments used to record

information during interpreting are a pen and a notepad. The text is interpreted with

excerpts related to the theme. Interpretation guides are designed around general, open-

ended questions, leaving room for follow-up questions as needed. English is used for

translation. A pen and notepad are used to make notes as needed. Therefore, strictly

follow the interpreter guide. This does not mean that unnecessary topics are being

discussed. Most of what is discussed is recorded in the guide. Additionally, the liberal

approach used allows other areas to be covered as they arise. The researcher will make

sure the questions are within the scope of the guide. Research questions are taken into

32
account when designing interpretation guides. Findings from literature searches are also

used. Another consideration is the public's opinion of the playwright and the play. The

extensive work done can be found in the next chapter (Chapter 4). Not only her career as

a playwright, but her impact on society has also been discussed. This section presents the

play's plot, features, and idioms used in labelling women in society. Interpretation also

forms an important part of the chapter. The work also offers solutions to some of the

cultural problems women face, and revisits how women assert themselves in our society

in the face of oppression and subordination.  

33
 CHAPTER 4

PIECE INTERPRETATION AND ANALYSIS

4.0 Overview

This chapter provides a comprehensive insight into theatre-derived research and feminist

ideology. This is the sum of everything discovered and discussed in the study. It provides

an analysis and interpretation of the work analysing various parts of the text on feminism.

A synopsis of the text is provided to provide a preliminary understanding of the events

occurring in the text. The cultural and political background of the play is also provided,

telling the time and place of its creation. This chapter also describes the play in the

context of feminist writing in order to validate Annoit's positive portrayal of feminist

characters for society as a whole. In addition, the theme of self-assertion that Anowa

explored in the play becomes clear. This research may serve as a solution to cultural

problems. Phases have different reasons for writing. It ranges from observations to the

researcher's personal experience. A brief background of Anowa's playwright is outlined

to determine whether Anowa's personal feminist beliefs influence her work. A summary

is also provided that aims to provide insight into the personal thoughts of the researcher

on feminism.

4.1 Synopsis of the play

A detailed plot outline of the work discussed is outlined. A plot summary outlines the

sequence of events at each stage presented by the playwright.

4.1.1 Anowa Synopsis

Anowa is a play by Ghanaian author Ama Ata Aidoo, published in 1970 after his Aidoo

returned from Stanford University in California to teach at Cape Hein Coast University in

34
Ghana. The play is based on the traditional Ghanaian tale of her daughter rejecting a

suitor proposed by her parents Osam and Badua and marrying a stranger who turns out to

be a demon in disguise. Set on the Gold Coast in the 1870s, it tells the story of the

heroine Anowa's unsuccessful marriage to slave trader Kofi Ako. The song has a unique

feature of being sung by an old man and a female couple. They introduce themselves at

key points in the play and offer their own take on the events of the play. Anowa's attitude

of being a modern and independent woman angers Kofi Ako. Anowa lives in a

hallucinatory world where her grief that she is childless depresses her. Her wealthy

husband is dissatisfied with her wife and asks her to leave him. increase. Her wealthy

husband is unhappy with her wife and asks her to leave him. Anowa argues with him and

she finds out that he has lost her ability to bear children and that her responsibility for her

childlessness is on him, not her. The revelation of this truth prompts Kofi Ako to shoot

himself and Anowa drowns. Anowa represents the modern woman who wants to make

her own decisions and live her life the way she wants. Her additional contradiction is that

despite being a tribal woman, she has city-born traits, their attitudes leading to their

downfall. 

4.1.2 Description of works in the context of feminist writing

Social drama is used to address relevant social issues.   The present piece serves precisely

the purpose of study. Ama Atta Aidoo is from Ghana and happens to be the setting for a

play. Anowa is a drama set in 1870s Ghana. The action of the play takes place in three

different locations. In Phase 1, Anowa's actions are mostly confined to Badua and Osam's

hut, Yebi Village. Phase 2 briefly returns to the hut several years after Phase 1, mainly on

highways near the coast. The final stage of Anowa takes place a few years later in a large

35
house built with the rich craftsmanship of Kofi Ako in Oguaa. All of Anowa's recordings

have a homely feel, emphasizing the importance of marital and family relationships.

Forced marriage according to traditional norms prevalent in most African countries is

also deeply rooted in Ghana. This makes for a great tool to explore to his advantage, in

the hands of the play's antagonist Aid. The emancipation of women was promised by an

independent Ghana. In particular, the passing of the Adult Act gave women the right to

enter into their own marriages, represent themselves in court, and be guardians of their

children. Despite these laws, many women's legal rights are not respected. While more

women are moving away from the ideal of good daughters, wives, and self-sacrificing

mothers to establish a different gender politics, they have never been hailed as cultural

pioneers (Šešić, Mijatović, & Mihaljinac, 2017). There was a place for women in the law,

but culture overruled the law and still allowed men to dominate women. Although culture

and feminism do not have much in common, the playwright exposes certain weaknesses

of culture and feminism and their place in African life. This was evident in Yebi's first

stage, when Badua and Osamu experienced shock at Anowa's announcement of Kofi

Akos' proposal, and their approval was based on their knowledge of community structure.

In true disobedient fashion, Anowa says: "I found someone I want to marry." Soon after,

"Kofi Ako asked me to marry him and I said I would. The first stage of shock was

Anowa's choice of marriage partner." Second, halfway through the foreigner, Kofi

proposed to her.  Anowa is a game with high symbol value. Using the style and structure

of oral literature makes this particularly clear, allowing Aidoo to rewrite legends based on

several characters who are emblematic of different aspects of society at a given historical

point in time. This work is an adaptation of Anowas' music and media. The play (Anowa)

36
focuses on the protagonist. These characters correspond to her two different cultures, a

Western type of woman and a typical African woman. That circle in the title means a

free-spirited woman who makes her own decisions and lives the life she wants, and it also

influences the character of the heroine. EYRE, (2021) reports: 

Anowa, the eponymous character, is a morally inclined

woman who speaks out vehemently against the abuse and
abuse of power by men and some women in a society that
flees from and encourages sexist exploitation and
oppression.

Her strong character even allows her to choose to marry a man of her choice rather than

one forced by her parents, as clearly demonstrated in her statement to her parents.

Mother, father, I have met a man:

I want to marry …
I say I have found a man I would like to marry …
Kofi Ako asked me to marry him
And I said I will too (14)

Similarly, Nyamekiye et al. (2015) in their article “The Importance of Cultural Practices

and Beliefs” in Ama Ata Aidoo's Anowa and Her Efua Sutherland's Edufa, she notes that

her Anowa's efforts and attitudes in the play reflect social pressures on women

characterizing her as a woman determined to resist Marry a man proposed by her parents,

choose her own husband, and date him without her parents' consent and blessing. I will

never set foot here again.” She has a very confident and stubborn personality, which is

rare for women, especially African women living in a living society in Africa.

As playwrights, Dangaremba and Uto Her Iseajyu write about the shortcomings of their

culture and also highlight the advantages. These two have a good understanding of how

they maintain their culture and the reality that comes with it. The play makes good use of

37
female characters to show how women are marginalized and stereotyped in Africa. These

predictions use parameters of feminist writing. Nwanya and Ojemudia (2014) provide

information on the emergence of women playwrights and their importance in

playwrights. In Africa, Zulu Sophora, Ama Ata Aidu, and many others appeared in

dramatic writings that actively rewrote women after the unhealthy portraits they received

from early male writers (Nwanya & Ojemudia, 2014).

 
4.1.3 Elements of feminism portrayed in the play, Anowa
This section describes how elements of feminism were portrayed in the play "Anowa" by

the playwright (Ama Atta Aidoo). The essence of this is to find out how playwright

Aidoo endorsed feminism and how she was used as a tool to promote a worthy course.

disputes the role played by feminism, but agrees that feminism exists to some extent. For

example, Anowa's character represents a rejection of cultural norms in many ways.

When she chose Kofi Ako as her marriage partner, it wasn't because he offered her a

culturally acceptable lifestyle, but rather to break free from that oppressive notion, and

put her against him, Goodhead, and Dokubo. I will marry him only for my feelings

(Goodhead,2018). When Kofi and Anowa's relationship begins, he quickly notices her

controlling and rebellious nature. Rejecting the traditional cultural practice of women

being stay-at-home moms, Anowa quickly adapts to life on the streets with her husband.

Even when Kofi hints that life on the streets will get tougher, she resists, claiming she

enjoys it. Anowa's in-game demeanour confuses Kofi Ato. Because Anowa likes hard

work that traditionally shouldn't be done by women and she classifies her behaviour as

highly rebellious. Feminist literature is literature that affirms women. The claim is that

the literature must portray women as three-dimensional, three-dimensional beings,

38
neither flat nor caricature, nor does it portray us as stupid and inactive (Aidoo, Interview.

with Ama Ata Aidoo: Facing the Millennium, 1996). Thus, feminist writing portrays

women not as caregivers or housewives, but as empowered and assertive women both at

home and in society. The above describes Ama Ata Aidoo as an outstanding feminist

writing. Throughout the play, characters are portrayed in a variety of ways. A description

is a verbal picture of a person's appearance or personality. A word picture can be defined

as a detailed written description of a person. Characterization is how a character is

portrayed in a play. It is also the role and nature of the human qualities of each character

in the play. This is the method the author uses to introduce the characters to the reader. It

is the theatrical interpretation of a role by expressing emotions, thoughts and ideas.

Characters are identified by what they say about themselves, what others say about them,

and what others say about them. Ama Ata Aidoo, by contrast, argues that female

playwrights cast women in strong, progressive, and confident hero roles, portraying

stories such as domestic violence, insecurity, food security, poverty and disease, and their

consequences, said it also projected other issues that affect women's normal lives. The

effects of war on women and children (Kishor & Johnson, 2005). She considered the

presentation from different perspectives. Again, the first post could be associated with a

woman. According to the author, the playwright has said that a character is like clay in

her hands and must be moulded to certain specifications, thus altering her perception in

order to convey a message. In respect, playwrights use female characters. 

4.1.4 Characters in Anowa

Ten characters found in the Ama Ata Aidoo play, Anowa were interpersonally conducted

based on both qualitative and quantitative methods to verify and extract the accurate

39
portrayal of feminism in the Anowa play. A thorough analysis of the ten extracted

characters shows that only Anowa and her father [Osam] have feminist figures and as can

be seen clearly in her statement to her parents:

Mother, father, I have met a man

I want to marry …
I say I have found a man I would like to marry …
Kofi Ako asked me to marry him
And I said I will too (14)

Also, after Osam was asked about Anowa's intentions, Anowa said that she left because

Badua was hunting her. Responding to Badua's scepticism, she said:

ANOWA. […] Who does not know here in Yebi

that from the day I came to tell you that Kofi and I
were getting married you have been drumming into
my ears what a disgrace this marriage was going to
be for you? Didn't you say that your friends were
laughing at you? And they were saying that very
soon I shall be sharing your clothes because my
husband will never buy me any? Father, I am
leaving this place.
[………………………………………………………………]
BADUA. Let her go. And maybe she walks well.
ANOWA. Mother, I will walk so well that I never find my feet here again.
And Osam, Anowa's father supporting the girl, said to his wife Badua, Anowa "This is your

family's drum; beat it, my wife." (p.15) and later Anowa says to Badua "Please, mother,

remove your witch's mouth from our marriage" (p.18). This core message does not fit into

traditional models of the patriarchal system, as female characters are verbally and

intellectually equipped to express their feelings and beliefs. So in Anowa, a woman not

only submits to everything, but also creates her own stories; She builds her own realities

40
and lives by them, risking rejection. However, this is not a complete rejection of the

patriarchal system, but an adjustment or improvement of it.

4.1.5 Theme of assertiveness explored in the play

In the absence of a formalized critical theory, early West African women writers served

as African feminist critics, emphasizing specific concerns women faced in addition to

those already recognized in the postcolonial genre. In many texts, readers are confronted

with connecting themes such as: (1) The struggle for self-definition in a society that has

inflexible expectations of women; (2) Contradictions of motherhood- issues of

barrenness, and mother/child relationships; (3) The struggle for economic independence

in the evolving neo-colonial culture that granted women less power; (4) Issues of

monogamy and polygamy; (5) Divisions of Power- who has it, how do you get it, and

how it is expressed? These themes are unmistakable in early published writings by West

African women and are still prevalent in contemporary works. Its critical importance has

only been recognized in the last twenty years because of the neglect of the early great

literary theorists who used male subject-centred analysis. When Anowa, unlike Kofi, is

enthusiastic about working diligently to complete her task, he teases her with the words,

"You ought to have been born a man." (84) This seemingly light-hearted quip expresses

the expected limits of mock femininity in Anowa's company and her growing influence

on Kofi as their marriage progresses. The above comparison evokes in Anowa a major

theme of the play, the fact that they have no children. The researcher believes that social

tragedy, the confrontation that occurs within a community group, causes change beyond

the original resolution by altering relationships and/or group structure. I would say it also

reformed the ritual, myth and performance of the community. This, in turn, affects the

41
self-perception of the community. According to Ama Atta Aidoo, Anowa is a play based

on the story of an unruly girl and is the oral result of a social play that took place in the

Akan community.  This social drama prompted community members to develop a

cautionary tale that simplifies this complex cultural dilemma and predetermines the

community's response to similar actions. of a future-ready resident. Aidoo's decision to

deconstruct this story, itself a social play, while assessing the historical factors that may

have influenced this decision once again forces the community to reconsider its

perception of the story.

In the 1870s, Anowa struggled against adverse structural changes in her community. This

change was the catalyst for chaos in the world of Aidoos at the time this article was

written. Aidoo suggests through Anowa, to give an answer to the cultural injustice facing

women who seek to heal their wounds, which will be found by going back to the root of

the problem. This vision of life, in which the present constantly connects creatively with

the past, recalls Sankofa's principle. Sankofa is one of the most popular Adinkra symbols,

an integral form of aesthetic expression in the Akan worldview. Its symbol is a mythical

bird whose head rotates in the opposite direction when looking back. There's nothing

wrong with learning with hindsight. Kofi Anyihodo offers a profound definition of the

Sankofa principle in relation to Ghanaian culture:  

This view of a national tradition in the arts is appropriately

captured in the now ubiquitous mythological figure of Sankofa:
ancient proverbial Akan bird, constantly reaching back into the
past even as it flies sky-bound into a future of great
expectations, mindful always that an incautious leap into the
future could easily lead to a sudden collapse of dreams. In the
Sankofa bird, Ghanaian culture has found its most complex
and most recurrent expression of the nation's favourite guiding
principle of development. (5)

42
In Anowa, the protagonist, like Aidoo, is keen to "remember and examine the history of

his people, especially the rifts of diaspora Africans stemming from the slave trade and

colonization of Europe as well as the complicity of the people in dividing the country."

continent" (Eke, 1999 p63). When Aidoo started writing, women in the Akan-Ghanaian

community had less public influence than in the mainstream infrastructure. Furthermore,

the paramount role of women in the community in the traditional structure of Ghana is

rarely cited in the historical literature. Therefore, I decided to use Sankofa as a

connecting motif for my journey into the world of Aidoo/Anowas, realizing that Sankofa

also serves as a cultural reminder of the past by remembering the meanings of certain

bodies and their actions. Sankofa is Aidoo who remembers his past. Sankofa is Anowa

recalling her past. I am Sankofa, the director, recalling folklore and other oral stories and

its impact on their lives. Sankofa is timeless, timeless and omnipresent. The symbolism,

its meaning and consequences have no origin.  

4.2 Prejudice and stereotypes about women

The Oxford Advanced Learners Dictionary defines expression as the choice and use of

words in literature (Hornby, 2006). The way these words are used and even placed plays an

important role in analysing and interpreting a text. Dictionaries define things like context,

images, and most importantly, characteristics. This gives rise to the widespread tendency of

stereotypes and stereotypes A fixed idea or conception that many people have about a

certain type of person or thing, but which is often not true in reality (Hornby, 2006) is the

stereotype.

A female character in Anowa is subject to certain stereotypes that often exist in African

43
literature and society. These stereotypes show how some men view women, it happened

that when Anowa, unlike Kofi, was so enthusiastic about working hard to fulfil his duties,

he teased her. that: "You should have been born a man" (84). This seemingly light-hearted

joke demonstrates the expected limits of Anowa's corporate femininity and its growing

influence on Kofi as their marriage progresses.  Dictionary.com defines an image as an

image that resembles or physically represents a person, animal, or object that is

photographed, painted, sculpted, or otherwise displayed. It adds a spiritual representation;

Idea; design. Both of these definitions are relevant for this discussion. The common

perception that one person has about the other is very important. The playwright did his

best to give some pre-existing images that some men have of women. Phrasing is the tool

used to project these images.

A clear stereotype in the Anowa game is the image of the woman as a "disobedient girl".

Knowing the characteristics of a disobedient girl will help to better understand and

appreciate this. The use of the word to refer to a person has a pejorative connotation in most

African cultures. Unfortunately, this word is used in the text to describe the woman

(Anowa). In Anowa, the old woman in the prologue says of Anowa that, "like all beautiful

maidens in fairy tales, she refused to marry one of the sturdy men who proposed to her"

(p.7). In this way, she consciously creates parallels between the character Anowa and the

unruly girl in traditional stories. This is reinforced throughout the work; for example,

Badua said to her "Do you want to be the girl in the folk tale?" (p.15) and finally, the old

woman said, "This is the kind of event from which stories and legends are drawn" (p.63).

The old woman is not the only one who uses this word. Badua does the same when she calls

Anowa a disobedient girl during her conversation with Anowa. Aidoo also makes many

44
references to mainstream society. For example, her mention of matrilineal society explains

Osam's lesser role in the debate over whether Anowa should become a priestess and in her

marriage. Aidoo clarifies that it is Badua and his brothers who are responsible for decisions

regarding Anowa's future. As Osam said to Badua, "It's my family's drum; beat it, my wife"

(p.15). The mention of traditional matrilineal society is particularly important, because

throughout the play, Aidoo shows that when exposed to European capitalism, this

matrilineal organization begins to break down and the position of How do women in

society change? This is evidenced by the non-traditional marriage of Anowas and Kofi

Akos and their gradual separation in the play due to the influence of the trade. It should be

noted that whenever the word is used for Anowa in scenarios, his education level is high,

but his financial status is very low and therefore in need of empowerment.  

4.3 Research as a solution to a cultural problem

Culture has its pros and cons. Negative aspects of culture affect women more. Most

important of the negatives for feminists are the patriarchal culture. This system, as

discussed in the previous chapter (2), is the subject of most women. Anyidoho (2016)

describes how women are perceived:  

Somehow it is true women and men have had their places

allocated but women have been allocated the subordinate
position, so should we accept that? I don't know really. I
agree that we have our roles that we play and I mean
women have been wired in a certain way and therefore
even in positions of leadership or wherever women find
themselves, they bring a certain perspective to bear because
they are women. Because of the issues they deal with but it
doesn't mean people have to be boxed, Anyidoho (2016).

The ideology of patriarchy is based on three pillars, namely the importance, domination

45
and predominance of men over women. There is too much emphasis on men. Men are

considered physically stronger than women. Most lineages continue through men.

Through this work, it is clear that patriarchy has not helped women. It makes them feel

less human, which men are quick to point out. Women want to participate in the

development of men, but do not want to be dominated by men. Catherine Acholonu

favours patriarchy and matriarchy over patriarchy. Another cultural issue is the ability

of women to express their autonomy through respecting some advanced African

traditions and customs. This is a question posed by Ama Atta Aidoo. Women should

have space to express their reproductive rights and oppression in patriarchal society and

criticize women's roles as wives and mothers. This does not mean that they have to

practice lesbianism as one of the values of radical feminists. They must have a voice if

they want women's roles as wives and mothers to be criticized. Her roles as wife and

mother should not be restricted as some cultures have tried to suppress her emotions.

The desire to express physical pleasure must not be compromised. Women also can't be

shy about expressing their love to the person they want to spend the rest of their lives

with, as Anowa shows. We also have to admit that women also have desires. The culture

in most African countries like Ghana, Nigeria and Zimbabwe does not allow the

freedom to express things as they are considered a custom. Another value of the culture

is the lack of recognition for the work of women. Work in this context includes having

children, family responsibilities, working life and even academic pursuits. Although

domestic duties are imposed on women, they must not become tools of oppression, as in

the case of Badua planning to help her only daughter, Anowa. Women of professions like

Anowa must be allowed to choose whomever they deem fit and support her in any

46
endeavour when the elders of the family reach the serious calling of her. her to look for a

better man from the man she married for support. One study says that educating a woman

is not worth it because if you educate her, she will come and rebel against you (Wodon,

Montenegro, Nguyen, & Onagoruwa, 2018). I don't think this is true in the sense that

education is It is better to be enlightened than to rebel. Rebellion broke out because of

relegation.

 
4.4 conclusion
The researcher under the playwrights Anowa did not forget to publicize aspects of the

culture related to this topic (feminism) and how to deal with it. Ghanaian culture views

feminism as frivolous, an illusion of reality based on male domination. In the end,

feminism no longer wins (Sinega et al., n.d.). Although Ghana has achieved

independence, it may be incomplete because of its culture of oppression of women. As

mentioned, the subject of feminism has many different interpretations. Their application

varies from place to place, region to region in Ghana.

47
 CHAPTER FIVE

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

5.1 Introduction

Chapter five summarizes the main findings of the study.   The researcher will detail their

position on the theories or questions. The researcher also states whether the results

confirmed or disproved the theories or questions. Researchers also provide their overall

opinion of the study (e.g., What's new? What did the study reveal? What is the general

opinion of the study's results and findings?). The researcher will also indicate whether the

original problem is better understood or resolved as a result of the study. Finally, the

researcher will make policy and practice recommendations, and will also attempt to make

recommendations for future research based on the findings of the study. 

5.2 Summary of key findings

Three goals are listed at the beginning of this survey to determine how elements of

feminism are represented in Anowa. This is achieved by reading and analysing the coins.

Library search results also contribute to the results. The following are observed for the first

target. In the context of the first objective, we try to distinguish between the European and

African notions of feminism, as expressed in the play Anowa, African feminists advocate

birth rights. property and their oppression in patriarchal societies and criticized the role of

women as wives and mothers, following second wave feminism. Western feminism aspires

to free women from all enslavement to men. They want to abolish all forms of male

authority so that their women can break free from rigid gender roles if possible, to have a

woman in a community where they don't need men.  In contrast, African feminism

acknowledges the necessity of the man in a woman's life throughout all stages of her

48
development. Although culture cannot be completely excluded from the picture of feminist

dialogue, it should not oppress nature. One's cultural practices need not interfere with the

natural status of women, for Anowa is not supported when she agrees to marry Kofi Ato as

a man, indeed Anowa and Kofi Ato doesn't need to stay in the community to stay out of

Yebi's outcast in the early stages of the play and marries a stranger who turns out to be the

Devil in disguise. In the study, a clear distinction was made between the two types of

feminism.

Western feminism doesn't quite apply to Africans. Africans have defined what they want

through their different styles of feminism, which they themselves identified in second wave

feminism. They capture this under the broad slogan of African feminism. The second

objective is to assess the issue/factor of female assertiveness in our society. It can be said

that Western feminism influences the work of African women writers. Primarily from the

second objective, the study participants had some exposure to Western culture, which is the

home of feminism. Aidoo uses one of his characters to confirm this. Aidoo returned from

Stanford University in California to teach at the University of Cape Coast and upon her

return, she was enlightened and able to stand up for herself after being exposed to Western

beliefs about women's rights. Although similar feminist writers were not all educated in the

West, it is interesting to note that they are still indirectly associated with the West, in terms

of education and books. Therefore, her work has always had a feminist background.

Reference can be made to Ama Ata Aidoo, who wrote Dilemma of a Ghost when she was a

college student and had not travelled off the coast of Ghana. Anowa considers constant

training to be the highest form of achievement for its protagonist. Her upbringing served as

49
the catalyst that helped her eventually realize the status quo of African women, and Anowa

moved on to a solution. 

Two notable values of Western feminism are established in the play Anowa, namely

liberal and radical feminism. Aidoo's feminism begins with a Western perspective

because the type of rebellion that characterizes Anowa's rebellious spirit is the basis of

Western feminism. According to Berg, feminism is “the freedom of a woman to decide

her own destiny, freedom from gender roles, freedom from social oppression and

restrictions, freedom to fully express her thoughts. own and freely put them into

action…” (Hooks 24). During the game, Anowa quarrels with Kofi Ato and discovers

that he has lost the ability to have children and that the fault for not having children is his

and not hers. The revelation of this truth causes Kofi Ako to commit suicide and Anowa

to drown.

But looking at radical feminists and their beliefs, what caused Kofi Ako to commit

suicide and Anowa to drown is not radical feminism. Radical feminists advocating

artificial reproduction methods spend less time on pregnancy and more time on

meaningful things. Ama Atta Aiddoo used female characters to send a message to her

Western counterparts. The message gets through, even though she's a feminist and

realizes all that theory stands for. From a scholar's perspective, the play Anowa shows

how uneducated women are marginalized and how the educated are supported. Although

some will say that too much education is not good for women, such education is

absolutely necessary for women to participate in the essential work necessary for the

development of the continent and the world, generally speaking. 

50
5.3 Conclusion

The desire to carry out this research has made it possible to better understand and

understand the dialogue. The theories and definitions surrounding feminism are

interesting. Women are not fighting for equality, but for the simple recognition they

deserve, like their male counterparts, as human beings. In these studies, the word

feminism generally had negative connotations for some African women. On the

contrary, I would like to urge all activists to accept staunchism rather than feminism. By

definition, social transformation includes women in Africa. (Refer to Chapter 2). This

exposes all cultural legacies and redundancies as they are changes taking place all over

the world. Global development processes must include women, not separate them from

them. The choice of this theory is because it best describes feminism in the African

context. Furthermore, according to Ogundipe Leslie, the mastermind behind the theory

that African women do not need liberation or feminism because they have never been

bound. This highlights the differences that exist between Western women and African

women. African women are approved to stay at home while Western women are not.

Feminism, with its negative effects, as advocated by some African women, also has its

positives. The central ideal of the various branches of Western feminism is that women

should be supported for equality between men and women in the political, economic,

religious, and sociocultural fields. tie; Ode says women need to be empowered and

liberated in 2011. Western feminists have goals to pursue, while African feminists seem

to have difficulty finding theirs. 

The African feminist group have not identified a uniform focus on the
issue of women. Africans have not yet identified the fact that the
African woman needs liberation. They seem to resign to fate and the

51
 biological element that create an illusion on the mind of the people; why
the division of sex by God in the first place? The cohesiveness of the
western approaches is the reason they are advanced in the promotion of
a better life for their women. (Ode, 2011, p. 100)

According to the researcher, feminism is not entirely negative, as this study shows. The

idea of feminism is the same in Europe and Africa. The barriers that distinguish between

the two are cultural practices and traditions found in Africa and the West. This gives

African feminists a different perspective. Feminism in general has dramatically changed

women's lives; Feminism is considered good because it has largely changed the

previously negative depiction of femininity in literature (Nwanya & Ojemudia, 2014). It

has inspired most African women to write about themselves and also use it as a means

of communication with policymakers and around the world. For example, the

government and policymakers in Ghana have established organizations such as the

Commission on Human Rights and Administrative Justice (CHRAJ) to address human

rights issues and human rights abuses by 'males'. gender. Another organization, the

Domestic Violence and Victims Support Unit (DOVVSU), also deals with domestic

violence. Although these facilities are already available, the problem of abuse persists.

Some women are beaten every day. Most do not have the courage to press charges or

bring perpetrators to justice. Some of the reasons for this are popular lines like; I fell in

love with my husband while Anowa talked to her parents about the man she wanted to

marry. These and other social factors prevent organizations from meeting expectations.

Governments encourage more women to participate more actively in politics, but most

back down, some facing insults and ridicule. Theatre can be used as an advocacy tool to

educate women and the public about their rights and other issues. Culture and traditions

52
are very important to everyone, especially to African men and women. They stick to it.

Even if they want to assert their voice in any way possible, tradition always prevails.

Belonging to a society or a family is very important as it gives an individual a lot of

self-esteem. African women want a sense of belonging. Western feminists want women

to be independent and not dependent on anyone.  

Reviewed playwrights from Anowa have incorporated both Western and African feminist

ideology into their work, but African feminism is more dominant than in the past.

Although feminism is the theoretical framework used, its application to the African

situation must be done with caution as Africa does not practice some of its values. In

Ghana's Akan society, when a male child is born, it is said ‘wawo nipa’, which means a

human being is born.

This then confirms the superiority of males over females, which is the patriarchal system

Gyan et al., (2020). African culture may have room for feminism because, we say, culture

is not static, culture is dynamic and culture is also a tool for change. Thus, the culture can

embrace feminism to promote the power of women for the good of society. As Efo Kodjo

Mawugbe said in an interview with Awo Asiedu, I don't think African culture has room

for feminism because, as we say, culture is not static, culture is dynamic and culture is

also a tool for change. The culture may therefore embrace feminism to emphasize the

power of women for the betterment of society, which is unquestionable from the outset.

They have to contribute to society (Asiadu, 2011). I think he said that because women are

the backbone of a marriage, of a society and even of a country. 

5.4 Recommendations

53
I suggest that the university, and especially the theatre department, social science, stock

their library with current books on feminist. The debates about feminism and its relevance

to Africans are endless, so rigorous measures need to be taken to increase knowledge and

keep students abreast of trends and talents. I also encourage scholars in Africa, especially in

Ghana, to delve deeper into the topic and do more research, especially on how relevant it is

to their culture. Most of the scientific papers used for this research were written by

Nigerians, so I would encourage my fellow Ghanaians to be interested in research and

especially related fields.

54
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