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An Interview with Ama Ata Aidoo: “I Learnt My First Feminist Lessons in Africa” María Frías Contents

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An Interview with Ama Ata Aidoo: “I Learnt My First Feminist Lessons in Africa” María Frías Contents ISSN 0214-4808 ● CODEN RAEIEX Editor Emeritus Pedro Jesús Marcos Pérez Editors José Mateo Martínez Francisco Yus Editorial Board Asunción Alba (UNED) ● Román Álvarez (University of Salamanca) ● Norman F. Blake (University of Sheffi eld) ● Juan de la Cruz (University of Málaga) ● Bernd Dietz (University of La Laguna) ● Angela Downing (University of Madrid, Compluten se) ● Francisco Fernández (University of Valen cia) ● Fernando Galván (University of Alcalá) ● Francisco García Tortosa (University of Seville) ● Pedro Guardia (University of Barcelona) ● Ernst-August Gutt (SIL) ● Pilar Hidalgo (Univer sity of Málaga) ● Ramón López Ortega (University of Extremadura) ● Doireann MacDermott (Universi ty of Barcelona) ● Catalina Montes (Uni- versity of Salamanca) ● Susana Onega (University of Zaragoza) ● Esteban Pujals (Uni ver sity of Madrid, Complutense) ● Julio C. Santoyo (University of León) ● John Sinclair (Uni versity of Birmingham) Advisory Board Enrique Alcaraz Varó (University of Alicante) ● Manuel Almagro Jiménez (University of Seville) ● José Antonio Álvarez Amorós (University of La Coruña) ● Antonio Bravo García (University of Oviedo) ● Miguel Ángel Campos Pardillos (University of Alicante) ● Silvia Caporale (University of Alicante) ● José Carnero González (Universi ty of Seville) ● Fernando Cerezal (University of Alcalá) ● Ángeles de la Concha (UNED) ● Isabel Díaz Sánchez (University of Alicante) ● Teresa Gibert Maceda (UNED) ● Teresa Gómez Reus (University of Alicante) ● José S. Gómez Soliño (Universi ty of La Laguna) ● José Manuel González (University of Alicante) ● Brian Hughes (University of Alicante) ● Antonio Lillo (University of Alicante) ● José Mateo Martínez (University of Alicante) ● Cynthia Miguélez Giambruno (University of Alicante) ● Bryn Moody (University of Alicante) ● Ana Isabel Ojea López (University of Oviedo) ● Félix Rodríguez González (Universi ty of Alicante) ● María Socorro Suárez (University of Oviedo) ● Justine Tally (University of La Laguna) ● Francisco Javier Torres Ribelles (University of Alicante) ● M. Carmen África Vidal (University of Salamanca) ● Francisco Yus (University of Alicante) The Revista Alicantina de Estudios Ingleses is published yearly by the Department of English at the University of Alicante in volumes of approximately 250 pages. The journal aims to provide a forum for debate and an outlet for research involving all aspects of English Studies. NATURE AND FORMAT OF THE ARTICLES: The Revista would welcome ar ticles of the following kinds: (1) Articles on linguistics and ELT, literature, literary theory and criticism, history and other aspects of the culture of the English-speaking nations. Articles should not exceed nine thousand words in length. (2) Bibliogra phies of studies on very specifi c topics, providing a brief introduction and a list of basic publications. A concise index of contents may optionally be included. (3) Reviews and review articles on recently published books in the fi eld of English Stu dies. (4) Poetry translations (English-Spanish and Spanish-Eng lish). All articles submitted should follow the guidelines which can be obtained from the following Internet address: http://www.ua.es/dfi ng/publicaciones/raei/general/instrucciones.htm Manuscripts should include an abstract in English of about one hundred words in length. In normal circumstances, the editors will only consider for publication those contributions written in English and recorded on disk. Two print-outs of the contribution should also be included. Articles will only be returned at the authors’ express wish, if so requested at the time of submission. All correspondence should be addressed to: Revista Alicantina de Es tudios Ingleses, Departamen to de Filología Inglesa, Universidad de Alican te, P. O. Box 99, E-03080 ALICANTE (Spain) ● ADVERTISING: The journal will be pleased to carry ad vertise ments in either full-page (17 x 24 cms. approx.) or half-page (17 x 12 cms. ap prox.) format. Prices and informa tion are available on request at the above address ● EX CHANGES: The Revis ta Alicantina de Estudios Ingleses will be happy to make exchange arrangements with similar journals in the same fi eld. All such proposals should be made in writing to the above ad dress ● SUB SCRIP TIONS: The price of subscriptions for FOUR issues of the Revista Alican tina de Estudios Ingleses is as follows: (1) in Spain, 60€ for libraries and institutions, and 40€ for private subscribers; (2) in countries other than Spain, US $100 for libraries and institu tions, and US $67 for private sub scribers. Individual issues for libraries and institutions cost 15€ (Spain) or US $20 (abroad). Correspondence on subscriptions should be adressed to: Marcial Pons Librero San Sotero 6 28037 MADRID (Spain) [email protected] Portada: Enrique Pérez Gabinete de Diseño de la Universidad de Alicante ISSN: 0214-4808 Depósito Legal: A-22-1989 Edición de: COMPOBELL, S.L. Murcia Estos créditos pertenecen a la edición impresa de la obra Edición electrónica: An Interview with Ama Ata Aidoo: “I Learnt my First Feminist Lessons in Africa” María Frías Contents An Interview with Ama Ata Aidoo: “I Learnt my First Feminist Lessons in Africa” . 6 Abstract . 6 1. Introduction . 7 Works Cited . .45 Notes . .49 Revista Estudios Ingleses 16 (2003) An Interview with Ama Ata Aidoo: “I Learnt my First Feminist Lessons in Africa” (note 1) MARÍA FRÍAS University of La Coruña [email protected] Abstract This is an interview with Ghanaian writer AMA ATA AIDOO. It took place in Accra (Ghana), on January 1998. After living abroad for more than fourteen years, Aidoo decided to go back to Ghana. When this interview took place, she was still trying to settle down. Since then, she has kept herself intellectually active, and has been invited to lecture to numerous international universities and prestigious institutions all over the world. With the passing of time, she has become still more vocal and critical, and she continues to be widely admired in Africa and abroad. (note 2) Aidoo is considered an outspoken African writer who tackles feminist issues in her fi ction. Brought up in, and respectful with the Akan tradition she comes from, Aidoo openly states that she learnt her fi rst lessons in feminism from African women, and in Africa. CONTENTS 6 An Interview with Ama Ata Aidoo: “I Learnt my First Feminist Lessons in Africa” María Frías In this interview, we focus on feminist theories—and the controversies around African, African-American, and Western Feminisms—and look at some of her most relevant works, to see to what extent her female protagonists deal with the somewhat schizophrenic reality of colonial- ism, and post-colonialism, at the same time they face African tradi- tional culture and modernity. 1. Introduction hanaian writer Ama Ata Aidoo (1940) is an outspo- ken woman who, in the tradition of some of her Gpredecessors such as Flora Nwapa (Nigeria) o Efua Sutherland (Ghana) both resists and subverts traditional lit- erary boundaries. Pejoratively labelled as belonging to the “old guard” of African women writers by Femi-Ojo (note 3), Aidoo is nevertheless respected by well-established writers such as Buchi Emecheta (note 4) -who thinks of herself as Aidoo’s new sister-or by the still-relatively unknown Ghana- ian writer Ama Darko-who pays respects to Aidoo as her liter- ary mother. Aidoo’s long, varied and prolifi c literary career- she has published poems, plays, short stories, essays, and novels-has received considerable critical attention and, after teaching for several years at different institutions in Africa and the USA, she has gained the respect and recognition of ca- nonical African American writer Alice Walker, who enthusiasti- cally asserts from the front cover of Aidoo’s Ghanaian edition CONTENTS 7 Revista Estudios Ingleses 16 (2003) of her novel Changes: “Aidoo has reaffi rmed my faith in the power of the written word to reach, to teach, to empower and to encourage”. (note 5) As with other African women writers, to use Busia’s words (1989-90: 90), Aidoo challenges, deconstructs, and sub- verts the traditional “voicelessness of the black women trope”. (note 6) Born into the Akan society-a Ghanaian group which according to Aidoo openly favors women to the extent that the mother of four sons still considers herself “infertile” because she could not have any daughters, and where wom- en are supposed to have the authority but not the power to rule-Aidoo’s (for some) progressive portrayal of African wom- en is simply a refl ection of what she saw: “I got this incred- ible birds-eye view of what happens in that society and I defi - nitely knew that being a woman is enormously important in Akan society” (Wilson-Tagoe, 2002: 48). Accordingly, Aidoo foregrounds the complex lives of women who behave in con- tradictory ways-haunted by African tradition, but caught in the dislocation of post-colonial Africa. In Changes (1991), for example, the protagonist Esi is a college- educated, career- oriented, married woman who abandons her monogamous marriage to voluntarily embrace a polygamous relationship where she has to cope with the uncomfortable role of sec- CONTENTS 8 An Interview with Ama Ata Aidoo: “I Learnt my First Feminist Lessons in Africa” María Frías ond wife. Changes start with Esi driving her own car, liter- ally fi ghting taxi-drivers’ verbal aggressions, performing her secretarial functions-despite her manager-position in statis- tics-and complaining about what she considers men’s dicta- torial ways. Esi’s schizophrenia serves as the metaphor for the contemporary African woman’s need to project a sense of assertiveness, self-suffi ciency, and fi nancial independence. However, Aidoo’s Esi is just one of the many female voices that need to be urgently heard after being silenced for so long. The irony here lies in the fact that Aidoo also gives voice to Muslim women like Fusena, also in Changes, who, although college-educated abroad and clearly intelligent, conforms to the subservient social and religious role assigned to her by her culture. In the same thread of thought, take Anowa, the protagonist of Aidoo’s play Anowa (1970), who rejects the prescription of an arranged marriage, chooses her own lover, and leaves her home town.
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