ABSTRACT
Over the years, African writers have
contributed immensely to the development of aesthetic. Their contributions are
made possible by the fact that, cultural aesthetic has become the main source
of material for their creative works. Consequently, their works have become a
documentation of their cultural aesthetic. There is therefore much evidence to
support the assertion that theatre is a very important medium for cultural
transformation and development. The study established the fact that colonialism
and its effects on African cultural aesthetic is a motivation for Post-Colonial
writers such as Efua T. Sutherland. This research sought to identify and analyse
the use of cultural aesthetic in Sutherland’s Edufa. The study further examined how relevant these cultural
practices are to current society; this then informed which of the practice
needed recommendation. Primary data for the study was acquired mainly from the
play texts, interviews and a focus group discussion. Additional data was also
gathered from published books, online journals and articles among others.
Through the analysis of the collected data, the study identified widowhood
rites, marriage, extended family, the role of diviners among others as some of
the cultural issues discussed within the plays.
CHAPTER ONE
1.1 BACKGROUND
Cultural aesthetic, in simple terms,
can be explained as a particular social, ethnic, or age group patterns of
learned and shared behaviors.
It can also be described
as the complex whole of collective human beliefs with a structured stage of
civilization that can be specific to a nation or time period. At its most basic
level, cultural aesthetic can be defined as the ability of human species to
absorb and imitate patterned and symbolic ideas that ultimately further their
survival (Lomalin and Stempleski 14).
The above implies that, familial ways
are also passed down from generation to generation. Hence, cultural aesthetic
is both shared and learned. It is shared because as a family grows, traditional
practices are passed down to the new generations and it becomes a routine to
that new generation. These practices are learnt through practice and
repetition. In current times, some cultural practices and values have been
regarded as “primitive” and “uncivilized”. But there are setbacks to this
mentality, as some people perceive that cultural aesthetic is a static thing
that can be preserved, unchanged by the changing people and times it runs into.
It also assumes that people accept at face value and do not wish to change
their patterns or ways of life. Similarly, there is a need to view cultural
aesthetic as dynamic and constantly changing. There is therefore the need to
change the outlook of some cultural practices; especially those that hinder the
development of the individual and the society. A pertinent example of this
would be Female Genital Mutilation and how it can be looked at, and judged as,
violation of human rights. This does not however, diminish one’s appreciation
for the ability of the human being to develop Cultural aesthetic (Wolf 12).
Efua Theodora Sutherland was a
Ghanaian theatre pioneer, children drama author, and dramatist, whose
best-known works include Foriwa (1962),
Edufa (1967), and The Marriage of Anansewaa (1974). In
1960 Sutherland founded the Drama Studio in Accra, which became part of the
School of Performing Arts, University of Ghana, Legon. Sutherland's plays were
often based on African myths and legends, but she was also largely influenced
by western plays and playwrights such as Euripides. Efua Theodora Sutherland was
born in the former British colony of Gold Coast, specifically the Cape Coast
region. After graduating from St. Monica's Training College, she went to
England where she studied at Homerton College, Cambridge, and the School of
Oriental and African Studies, University of London. Upon her return to Ghana in
1941, she co-founded the cultural journal Okyeame.
Sutherland founded several experimental theatre groups and writers' workshops.
In 1948 she opened the Experimental Theatre Players in Accra. Two years later,
with funding from Ghana's Art Council and the Rockefeller Foundation in the
U.S., it became the Ghana Drama Studio. Her play Edufa (1967) was an adaptation of Euripides's Alcestis. Edufa the hero is a Western-educated modern man, who is
obsessed with his own longevity. A diviner tells him that he can avert his
death if he can find someone to take his place. Ampoma, his wife, innocently
promises that she would die for him. Ampoma accepts her approaching death, and
expresses love for Edufa.
1.3 PROBLEM STATEMENT
In current times, most African cultural
aesthetic are regarded as outmoded and irrelevant. Also, some of these
practices are seen as a hindrance to the development of the individual as well
as societies. In light of these concerns, there is the need to examine some of
these cultural practices so as to determine their place in modern society. For
instance, there is the need to investigate the widowhood rites and the use of
charms among many others.
Over the years, various researches
have been conducted on how Theatre for Development (TFD) is used to effect
changes and how it contributes to the development of communities. There have
also been studies that dealt with play texts; focusing on characterizations,
themes and theories. However, not much has been done to examine the impact of
theatre (plays) on the development of cultural aesthetic. This study therefore
intended to unveil the existing relationship between theatre and cultural
aesthetic through the study of Edufa.
Furthermore, the study observed that, no extensive study has been done on the
issue the cleansing rites as expressed by Efua Sutherland in Edufa.
.
1.4 OBJECTIVES
•
To find out the cultural practices highlighted by the
playwrights.
•
To analyze the use of these cultural practices in the plays.
•
To investigate which of these practices fit into current
societal trends.
•
To identify the cultural practices in the plays that need
reformation.
•
To make recommendations that will help the rebranding of
these practices.
1.4 RESEARCH QUESTIONS
The concerns
raised above led to questions such as;
What cultural
practices are highlighted in the plays?
• How are these cultural
practices used in the plays?
• How relevant are these
cultural practices to modern societal trend?
• Which of the cultural
practices need recommendations?
• How can a research into
these plays affect cultural policies?
1.6 JUSTIFICATION
In an era where indigenous cultural
aesthetic is fast losing its value, there is a need to re-evaluate the nature
and outlook of some African cultural practices. There is also the demand to
understand the place of widowhood rites as well as some traditional religious
practices in the modern world. This research helped in throwing light on the
role of the post-colonial playwright in preserving the African cultural
identity through his or her works. This justifies the fact that, theatre is an
effective means through which cultural aesthetic can be promoted and
advertised. The study also made suggestions to policy makers with regards to
changes and measures to be employed in developing cultural aesthetic as well as
theatre. Furthermore, the research outlined ways through which cultural
aesthetic and theatre can benefit from each other. This research will be made
available for future researchers who will like to further explore areas
involving theatre and cultural development.
1.7 SCOPE OF THE STUDY
Due to the limited time within which
this research was completed, analysis mainly focused on
Efua Sutherland’s Edufa. This notwithstanding, examples
were drawn from other texts when necessary.
1.8 METHODOLOGY
The study focused mostly on the
textual analysis of Efua Sutherland’s Edufa. The research also conducted a focus
group discussion consisting of randomly selected participants. During the
session, the plays were read; the reading was followed by discussions on the
cultural content of the plays. The
issues raised at the discussion were recorded and later analysed. Also, there
were personal interviews with a traditional chief during which additional data
was collected for the research. The study also consulted materials by the
playwrights and other scholars about the plays. Furthermore, supplementary data
on the background of the playwrights was collected; this was to enable the
study determine cultural setting of the plays. The study also gathered data from library materials
including books, journals, articles both print and online.
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