The Preservation of Indigenous Names in African Plays

THE PRESERVATION OF INDIGENOUS NAMES IN AFRICAN PLAYS

Abstract

Applying the Sankofa theory, this paper examines the use of indigenous traditional names, in four Ghanaian plays, namely; The Legend of Aku Sika, In The Chest of A Woman, Edufa, and

The Dilemma of a Ghost. Data included the selected plays, field notes, and essays. It is largely

Content Analysis (CA), and purposive one-on-one interviews with some onomasticist in Ghana.

Findings revealed some preservation of several major traditional names for characters by the playwrights. The study recommends African playwrights to incorporate more indigenous names in their plays for preservation and storage for future generations and for cultural identity.

Key Concept: Indigenous Name, Character, African Playwrights, Onomastic, Superstition,

1 1.0.Introduction

Ideas about fate, destiny, love, and chance have been major preoccupations of most playwrights in all ages and in all nations. Rhetorically, one wonders to what extent playwrights have been contributing to the preservation of traditional indigenous names. It may sound periphrastic, if one has to hammer on the importance of names for the individual in our communities. Over the head of every one, dangles that familiar sound or word called name. Indeed, a person’s name is truly special and uniquely his or hers (Chiemina, 2010, p. 45). Your name connotes a sense of identity and a bit of your cultural heritage. Noting that, what the researcher says is true about a name, one may ask, ‘How many of us reading this paper have indigenous names?’ And, if we have, do we know their meanings? Probably some of us don’t have, and others probably, do not know the meaning of their names. For the sake of drama, playwrights often present life as something that comes in sections which are hinged up together like a screen. Each story told by a good playwright has some local color words. Thomas Hardy, (1840-1928), for instance, used architectural references in his work; Obscure, (1896). The playwright’s choice for names of characters helps to define the setting and the cultural milieu of the play. It makes the plays easy to read due to the familiar names being used, than uncommon names which contribute to the level of difficulty.

In this study, I concentrate on the plays of Ghanaian playwrights, thus, I have selected four plays namely: The Legend of Aku Sika by Martin Owusu, in respect of the reclaiming of Ghanaian folktale as a valid resource for modern theatrical expression, In the Chest of a Woman by Efo

Kodjo Mawugbe and The Dilemma of a Ghost by Ama Ata Aidoo, which espouse the dichotomies of modern and traditional Ghanaian societies and, Edufa by Efua Sutherland, a play adapted from the classical Greek play, Alcestis by Euripides, which reinforces the commonalities

2 of world views of traditional or primeval societies, however, disparate. Through this research, I have learnt that civilization cannot be preserved by material means alone. So, as the contribution of playwrights to our national and cultural survival, why can’t we preserve part of our civilization by giving indigenous names to the characters we create in our plays?

Development models have clearly failed despite constant amendment to live up to expectations they always raise. Many are those who claim that development has to be defined far too exclusively in terms of tangibles, such as roads, multi-billion buildings, Supermarkets, factories, farms, glass-houses, water, and food, and so on.

Although, these are essential goods, the fact still remains that, the importance of Theatre and development should be understood, not simply in terms of economic growth, but also, as a means of achieving a satisfactory intellectual, emotional, moral and spiritual existence. If you build a mansion and do not feed the minds of the occupants with good moral conduct and appreciation, bear in mind that, the mansion would sooner or later collapse. As has been observed:

A country could be perfectly governed, immensely powerful and without poverty, yet, if it produced nothing of its own in architecture, sculpture, music, dance, drama, painting or books, it would someday pass into the twilight of history, leaving only the traces of a creditable political record”- ( Arkintonn, B. 1941 p. 68). Culture distinguishes one human group from others. It also distinguishes humans from other animals. A people’s culture includes their names. As Africans, we have a unique culture which should be jealously guarded against; else we will lose our identity as a human group.

I dare say that, many Ghanaians will remain unidentified in any identification parade where indigenous names are used. This is the time for us to wake up from our slumber so that we may be identified, and our creative playwrights can contribute immensely to that.

3 1.1.0. Statement of Problem

Before the entry of Christianity and Islam into Africa, and for that matter, Ghana every Ghanaian had an indigenous name. In recent times, however, the number of Ghanaians using indigenous names is decreasing tremendously, while the adoption of English and Arabic names is increasing. This unfortunate development has led to many mistaken identity problems amongst

Ghanaians.

The writing of this paper has been inspired by my desire to advocate for the reverse of the dwindling trend in the use of indigenous names in Ghana. This paper has the following

1.1.1. Objectives:

• To explore the level of usage and preservation of some African indigenous names by some selected playwrights.

• To provide a list of some of indigenous names and their meanings and how appropriate, they have been used in the plays.

1.1.2. Research Questions

The guiding and central research question for this paper is:

• To what extent have some Ghanaian Playwrights used indigenous names for characters in

their respective plays?

1.1.3. Significance

This paper offers a collection of indigenous Ghanaian names which have been identified in some selected Ghanaian plays, categorized into spiritual, philosophical, experiential, descriptive, circumstantial, honorific, and ancestral names. It is also worth pointing out that, Ghanaian

4 indigenous names in themselves have some psychological significance which has been espoused in this paper for easily identification and understanding.

Indeed, every Ghanaian indigenous name, either has a moral lesson to teach, or is intended to motivate people to act. How far the playwrights are aware or unaware of this phenomenon needs to be assessed and giving scholarly interpretations. Be that, as it may, some Ghanaians have over the years deviated from their culture, especially in giving names, and have gone ahead to adopt many foreign names. Since plays play significant roles in our lives, as functional art, the recommendations offered in this paper to encourage up and coming playwrights to give indigenous names to their characters will invariably extend the crusade of cultural identification and preservation of our cultural heritage for the present and for future generation.

1.1.4. Limitations/Delimitation

For the purpose of this study, the researcher focuses on the four selected plays which are basically, Akan. References, however, could be extended to some of the plays from other ethnic groups in Ghana and from other countries.

1.1.5. Theoretical Framework

The theoretical lens through which I place this paper is the – Sankofa Theory (ST),which began as a means of expression for scholars who were concerned with traditional culture and norms being discarded for alien “modern” ones without due recognition of the positive aspects of the traditional cultural heritage and, the dangers that such action might wreck our heritage. This was extended to educational scholarship with such leaders and scholars such as Nkrumah, Dubois,

Busia, J.B. Danquah, Nketiah, Sarpong, Antubam and quite recently, Anyidoho, Amiri Bakari,

5 Hillard, Martin Owusu, Takyiwaa Manu, Agyekum, Agbo, and Nana Asaase, just to mention but a few.

It is important to utilize a theoretical perspective that considers the complexities of my profession as a playwright who is interrogating other playwrights on how they have employed traditional names in their works. My present Sankofa theory allows me that flexibility. ST is a theoretical viewpoint that has gained increasing popularity as a critical tool in Ghanaian formal or informal educational practices.

‘ Indeed, after many years of Ghanaian independence, as a people, it seems we have not completely eradicated colonial thinking from our imaginations—we have simply learned to be more discreet.’ Because colonialism has become such an unnoticed part of society, ST seeks to reveal the persistence of mental slavery, in society in general and education in particular, in the hope that unveiling this privileged ideology will provide a forum and means for discussion and positive change.

Sankofa theoretical underpinnings consider how cultural identification informs individuals’ views about his/her world. Specifically, Sankofa utilizes a Ghanaian-centered worldview that evaluates phenomena, the experiences and perspectives of the Ghanaian person (Asante, 1987 p.

In this research, the Sankofa perspective can be defined as, a dialectical research strategy which aims to help people discover more about their own lives in a culturally relevant way in order to critique their social practice and participate in changing the dominant society (King & Mitchell,

1995, p. 67).

6 Thus, ST reveals the movement back into tradition in order to improve the present for a better future. The research, therefore, through the Sankofa theoretical foundation advocates the return to the tradition to borrow traditional names for characters in their plays. ST aims to give all

Ghanaians and for that matter Africans the platform from which to research and be researched.

Different aspects of both of these perspectives are warranted because both have validity in educational and social research. ST is necessary because it seeks to reveal the new slavery, even in its simplest form, by “unmasking” the obscurity of mental enslavement. It seeks to expose assumptions that African society is becoming more accepting of traditionally inclined people. ST reveals the fact that we may be Africans with another alien mentality, other than what we really are.

2.1.0. Review of Related Literature

Building on existing work done in separate fields of playwriting and character building, this paper develops specific conceptual framework in relation to plays written by African

Playwrights, and some other works of cultural Anthropologists and sociologists.. The extinct of

Traditional names in the African society which has become a perennial subject for discussions adds up to task of the researcher to find some written works regarding the promotion of traditional names in Ghana and other African countries.. Again, the creative sense of new playwrights becomes very topical, relevant and generic. I therefore review the literature under the following pillars.

7 2.1.1. Naming and Character Formation

Shakespeare, in As You Like It, said: "All the world's a stage, And all the men and women merely players; They have their exits and their entrances, and one man in his time plays many parts...”

(2000: p. 153). In the Akan cosmology, these words of Shakespeare are not out of place. The stage is set for the child as we offer him or her the platform to perform many roles on earth.

Though, the child does not speak, from that day onwards, the child has begun wearing his/her identity; a name to differentiate him/her from all other children. .

In every culture, names have cultural and social contexts that identify the bearer. The Akans therefore have the maxim that nsεm mone nti na yεkyεε din ‘it is because of criminal acts that names were shared’. This is to say that every person in this world has a name that solely identifies and marks him/her from all other peoples in the world. Algeo (1992: p. 728) aptly points out that “People are almost invariably named, indeed, a human being without a name would be socially and psychologically less than a fully man.” In Saussure’s notion, the name is the sign and the denotatum is the signified. Simply put, the name is a label that refers to a person.

The Akans attach much importance to names and naming practices. The knowledge about Akan names gives insight into Akan culture, philosophy, thought, environment, religion, language and culture. (Agyekum 2006) The symbolic nature of Akan names and their interpretation depicts

Akan religious beliefs, and their interaction with foreign cultures. In logical and philosophical sense, a name refers to a different element of human experience that is, to an individual or a collective entity, which it designates or denotes. Names are therefore purely referential (see Rey

1995: p. 26). Some philosophers and linguists have attempted to characterize names logically in

8 the absence of social contexts. Names are only considered as arbitrary labels that refer to certain signified entries, therefore the signifier and the signified may not share certain intrinsic qualities.

In Ghana, we have different ways of naming a child. Among the Akan, the father is responsible for the character (sunsum) of the child. This is why; it is the father who names the child. A baby is not considered to be a proper human being, until it has been named, (Sarpong, 2002, p.29). To become a human being, the child has to have a name that identifies him. Without such a name, the child is only a hohoo (stranger)

The day on which one is born (Krada) gives one a name (Kradin). For example, a male child born on a Sunday is called Kwasi. Every day’s name has an appellation attached to it. That of Kwasi is Bodua

An interesting but serious element of the cultural observance of the Akans, which is associated with God and his appointed day for a child to be born, Krada, and are considered sacred, are gradually being eroded from the communities. This is happening because; the new medical approach allows Medical doctors to decide when Caesarian Operations should be conducted on pregnant women. A study done in November, 2011 by a group of researchers from Kumasi indicated that, about 70% delivery from a Kumasi based hospital happens on Fridays and

Saturdays. Even, in labor, the pregnant woman is likely to wait till Friday or Saturday, before the operation could be done. Very soon, all male children, born within a catchment area would be known and called Kofi or Kwame and the female ones would be definitely called Afua or

9 2.1.2. Rites and Ceremonies attached to Indigenous names

Traditional Akan society lays particular emphasis on rites and ceremonies. It is believed that, men interact not only among themselves, but also with their ancestors, supernatural being and spirits that inhabit the universe. (Nketia, 1972, p. 54)

The characters playwrights compose in their plays are synonymous to the human being that God the Almighty has created. In fact, they are created based on what God has given us. This reinforces the Sankofa concept to be crucial during creativity. They interact with each other, the audience and other spirits, so created by the playwright. This interaction is possible because every character in the play is a composite of material and non-material elements. He has a body

(onipadua) formed out of the blood of the mother, a spirit (sunsum) derived partly from the ntoro of his father, and soul (Okra) given to him by the Supreme Being who ordains his destiny in the world of the living on stage. Both Sarpong and Nketia agree that, the well - being of an

Akan depends on both physical and spiritual factors. Hence, spiritual causation is not ruled out when something goes wrong. The Supreme Being is the source of morality. Just as God the creator does not like men to cheat one another, like the playwright, He has given every one a name. “An Akan proverb says “Dinpa ye sen ahonya” which translates as; “Good name is better than riches”.

Various character characteristics in plays are attributed to real human beings. Particularly, they have sex. (Male or female) There are male characters and female characters. There is a limited distribution of roles and responsibilities among all characters in a play. In Death On Trial,

Appiah-Adjei (2013) sensitizes us on the importance of the name in Akan traditions through a character, Obibini:

10 My name, my royalty and my position in this village is gone. My destiny! (To the audience) Names are key symbols and summary of personal identity, the first identifying marker used for specifying an individual. A form of address, used and very quickly captures the symbolic essence of the relationship between two persons. In our culture, your name is more important than your age. We do not allow our names to be dragged in the mud. It should be well protected. (Appiah-Adjei 2013: 44)

2.1.3. Evils Associated with Traditional Names

The idea of traditional Ghanaian names being considered evil and eminent procedure to stifle prosperity needs to be considered. Many are those who change their original names for other ones which supposedly, suggest riches and good luck to them. Most of us pick foreign names to replace our local names. Indeed, many issues attest to why people are given names such as

Bediako, Sika, Anto, Ahyiakwa and the rest. Playwrights’ choice of names for characters in their plays should not be taken for granted. Every name has a meaning.

2.1.4. Pre-Birth

From conception till the day of birth, certain events which occur outside the child’s world may suggest certain commemorative names. If fortune, “smiles” at the parents, the baby may be named Afriyie (Good luck), or Sika (Cash). If the opposite is the case, Ohia (Poverty), if the birth is at war time, Akwanhyia, or Bediako (Unhappy coincidence) will suggest itself; if the father/mother passes away before or immediately after birth, it can be named Anto. Many also get their names during occasions like during Festivals (Odwira, Buronya, Ohum), sacred days

(Adae, Fodwoo, Dapaa, Fofie etc) In Freedom in Chains, the playwright, Daniel Appiah-Adjei names one of the characters as Anto because just as the father is banished from Mahatu, we find his mother very pregnant. He is born while the father is away. Anto – “did not meet or encounter someone. He/she had gone before you came”

11 The soul name (Krada) is believed to sustain and influence the morals of the person. It is considered to enter the child at birth from God. Each day of the week carries a soul name and appellation as follows:

DAY MALE APPELLATION FEMALE APPELLATION SUNDAY Kwasi Bodua Akosua/Asi Adampo MONDAY Kwadwo Okoto Adwoa Badwo TUESDAY Kwabena Ebo/Ogyam Abena/Araba Kosia WEDNESDAY Kwaku Daaku Akua Ekusee THURSDAY Yaw Preko/Kwaw Yaa Bosuo FRIDAY Kofi/Fiifi Otuo/Okyini/Babone Afua/Afia Beefi/Nkoso SATURDAY Kwame Atoapem Amma Nyamekye

2.1.5. Order of birth for the Akan: It is expected that only one woman has given birth to all the children. Not a man.

ORDER MALE FEMALE First Opiesie Opiesie Second Maanu Manu Third Mensa Mansa Fourth Anane/Annan Anane Fifth Num/Anum Num/Anum Sixth Nsia Nsia Seventh Ason/Nsowaa Nsowaa Eighth Botwe Botwe/Nwotwewaa Nineth Nkroma Nkroma Tenth Badu Badu Eleventh Duku Duku

2.1.6. Indigenous Names and Society

Chieminah Abudu, in June, 2010, with support from the Cultural Initiatives Support Programme

(CISP), a European Union sponsored programme, launched a book entitled Indigenous Sisala

12 Names and Meanings. In this book, Chiemina compiled and explained more than Five Hundred

Sisala indigenous names.

In Ayi Kwei Armah’s works, according to Kofi Anyidoho, there is a symbolic value to the use of names. Personal names, especially, frequently serve as keys to the cultural and social identity of characters. “The loss or retention of a true African consciousness and identity is often indicated by the name a character bears” Isanusi in Two Thousand Seasons tells:

When we have lost our way completely, lost even our names; when you will call your brother not Olu but John, not Kofi but Paul, and our sisters will no longer be Ama, Naita, Idawa and Ningome…(p. 130)

The constant reminders of the neglect of our identity through names is subtly been addressed and redeemed by our traditional leaders, especially our Kings, Chiefs and Queen Mothers who resort back to our traditional names when they ascend the throne. Hardly does one find a traditional chief or queen mother bearing a foreign name such as Nana Theresa or Nana Comfort. The

British Monarchy for example, has Queen Elizabeth the Second, King Charles the fourth, etc., a clear indication of Sankofa. Religious leaders all over the world especially, the Catholic Popes mostly go for the names of those who have gone before them.

Sankofa implies that to initiate a progressive civil social existence, one that preserves our humanity, we would have to reach back into the past for the wisdom of our ancestors, the best of our tradition, and renew and refine these traditions for new meanings that are relevant for the present. (Tedla, 1995)

One cannot help noticing the Sankofa concept as an all-embracing and universal principle which has guarded the people through their civilization.

In the Sankofa bird, Ghanaian culture has found its most complex and most recurrent expression of the nation’s favourite guiding principle of development…One of the most significant ways in which this principle has guided development in the arts is the constant search for retrievable

13 ancient models of excellence and relevance so typical of the works of various generations of Ghanaian creative artists. (Anyidoho, 2000)

Agreeing with Anyidoho, one can mention a number of Ghanaian creative artists who have written on the Sankofa concept as well as employing it in their creative works. This is one of the reasons why the researcher wants to discover how the selected four playwrights have used the concept of Sankofa in their various plays as far as traditional names are concerned.

Scholars, such as J.E Casely Hayford pointed to this direction when he declared, in his pioneering work Ethiopia Unbound that (1911); “no people could despise its language, customs, and institutions and hope to avoid national death” (Hayford, 1911: 213-14) The call was made by the central character, Kwamankra, for the return to the old familiar Sankofa songs for their deep meaning and inspiration has indeed not been lost on many of the artists who were to follow him.

Kobina Sekyi’s The Blinkards underscored Hayford’s lament over “how much of his people lost in passing from their ways to those of the white man.”

Mr. Abrofosem:

Well, I am blest. Onyimdze was right all along the line. If only we were National, we should be more rational and infinitely more respectable. Our ways and our things suit our climate. For one thing, our drink Have not the same maddening effect on our people as European Drinks have. The people of the old days were wise indeed. If only We would follow the customs they left us a little more, and adopt The ways of other races a little less, we should be at least as Healthy as they were. (Sakyi, 1974: 173)

In this speech, Kobina Sekyi uses a character in his play to communicate the need to appreciate our African values and ways of life,

14 In the same manner, Anyidoho argues that in any critical survey of Ghana’s emerging national tradition in the arts, one is most likely to be struck by the constant interplay between antiquity and modernity, between past and present/future time. He continues by making reference to divine drummer in his attempt to establish how the present, the future and the past are interdependent:

Okwan tware nsuo Nsuo tware okwan Opanyin ne hwan? Oboookwan no kotoo nsuo Nsuo no firi tete Nsuo no firi tete Odomankoma

The path has crossed the river The river has crossed the path Which is the elder? We cut the path and found the river The river is from long ago The river is from the ancient Creator of the universe. (Anyidoho, 2000: 4)

The road, according to Anyidoho is a symbol of human aspiration and civilization, while the river/ocean is a symbol of eternity and of ancient laws of existence and of the universe itself.

Perhaps, our modern generation has failed to look at, or reflect on the ancient laws, norms and customs to ascertain their potency before jumping to conclusion, that, they are outmoded or primordial. Perhaps, we have not made any attempts to see the important role chieftaincy as an example among other institutions, plays as custodian of our laws and order in our societies.

Ghana’s Fourth Republican Constitution (1992) proclaims that culture is of crucial importance in our national development. To this end, the Directive Principles of State Policy, Article 39 (1) states that the State should encourage ‘the conscious integration of cultural dimensions to relevant aspects of national planning. Article 39 (2) thus directs: “The State shall ensure that

15 appropriate customary and cultural values are adapted and developed as an integral part of the growing needs of the society as a whole; and, in particular, that traditional practices which are injurious to the health and well-being of the person are abolished.”

The Sankofa theory, in this sense, admonishes us not to adopt the ancient materials that are injurious to the wellbeing of the people. But to abolish them as the constitution of the Ghana proclaims, one has to go back for those inimical situations assess them, before they can be abolished completely. If you are not aware of something, how can you change it or fight it? The artists therefore research into the past as Nketia posits: “Knowing the Tradition, continuing the tradition and creating within the tradition”

3.1.0. METHODOLOGY

3.1.1. Content Analysis

This section outlines the study’s research design, which focused understanding on how the

Sankofa theory has influenced the modern Ghanaian playwright. The study then, looked for

Traditional names Ghanaian Playwrights, namely; Efo Kodjo Mawugbe, In the Chest of a

Woman (2008), Martin Owusu, The Legend of Aku Sika (1999), Efua T. Sutherland, Edufa

(1968), and Ama Ata Aidoo, The Dilemma of a Ghost (1965), have used and how they contribute to the literature and preservation of Ghanaian traditional culture.

16 Reflecting on the guiding research question of the paper: “To what extent have some Ghanaian

Playwrights used indigenous names in their respective plays?” There was the need to get access to the plays selected. There was also the need to find the meanings and sources of traditional names and their philosophical foundations.

Naturally, the plays selected like most works of drama, are meant to be performed on a stage and witnessed by an audience. The life of drama, is, in fact, so intimately connected to stage performance that a single word theatre is often used to refer, both to plays and the place where they are performed and witnessed… (C.H Claus, 1974). By content analysis, the main idea was to read and analyze the plays with the concerns of looking for the various traditional names.

Therefore, in reading any of the plays, rather than witnessing it on stage, one has to imagine it as a performance, projecting in our mind’s eye, an image of the setting, the props, as well as the movements, gestures, facial expressions, and vocal intonations of the characters. What therefore, would be more appropriate, as the research methodology for this study?

The works of the four playwrights initially became a guide which significantly influenced my individual scholarship as a drama critic. I engaged in constant reading and analyzing characters in the plays. The focus was basically on Primary Sources for Data:

• The Legend of Aku Sika by Martin Okyere Owusu

• In the Chest of a Woman by Efo Kodjo Mawugbe

• Edufa by Efua T. Sutherland

• The Dilemma of a Ghost by Ama Ata Aidoo

3.1.2. Documentary Survey

17 This method was employed to acquire secondary data through documents, such as books, articles, journals, films etc. In this case, the University of Ghana Balm library and departmental libraries electronic resource rooms were visited in order to obtain information about the manifestation of the Sankofa concept (traditional cultural presentations) in Ghanaian contemporary drama.

4.1.0. FINDINGS

4.1.1. Indigenous names in the Selected play

As mentioned, the purpose of this study, under ethnographic and content analysis was to understand how four Ghanaian playwrights namely, Efua Sutherland, Ama Ata Aidoo, Martin

Owusu, and Efo Kodjo Mawugbe have used traditional indigenous names which connote the

Sankofa theory in their respective plays. It was also meant to explore the contentions regarding the responsibilities of Ghanaian writers to Ghanaian audiences and students; and to investigate the call for new and emerging playwrights to nurture the habit of infusing traditional indigenous names in their plays.

18 Finally, it was the purpose of this study to identify the ways in which the individual playwright’s work and other experiences informed their creative identity through a process of indigenous names and scrutiny.

4.1.2. Edufa

In this play, Efua Sutherland’s adaptation of a Greek play, Alcestis by Euripides encourages the inclusion of an international/intercultural aspect in playwriting education programs. These dimensions would ensure that playwrights would have ample opportunities to engage their audiences in an “expanded life space”. In this space, one would have to question the normal and common occurrences in their lives. This presents an opportunity for audiences to become more aware of themselves and their reactions to interactions with people from different cultures than their own. The universality of the themes in the play exemplifies how mankind belongs to a common ancestry and has similar ideologies and philosophies. The idea of borrowing from the

Greek playwright, depicts the Sankofa theory in the first place, apart from the numerous Sankofa elements (Traditional symbols) found in the play. The play does not simplify the objects of tradition but maintains that, in order for it to be done successfully; theatre practitioners would have to take into account context, cognition, language, learning and culture, socio-economic status impact, and their own feelings and perceptions. Spiritual, philosophical, experiential, descriptive, episodic, praise and ancestral names.

4.1.3. Indigenous Akan names in Edufa

Name Descriptive Spiritual Philosophical Appellation A female Born on No philosophical Abena Tuesday. Edufa’s Krada/Dapaa underpinnings in Kosia younger Sister the play Someone who is

19 Edufa The Hero of the Dufa, a spiritual interested in Play element, a seed, spiritual things. A object taker of medicine Matronly member Knows everything Seguwa of the family - in the household Spiritual Supporter Walking Stick Ahwenee, Ampoma Edufa’s wife which supports Bodommuwuo a man. eda ahweneemu The representation Boadu of the community, Kankam Edufa’s Father No spiritual knows beyond the connotations ordinary Sam An idiot servant - Playwright’s own creation

Analysis

Characters: 8

Characters with Indigenous names: 7

Percentage: 86%

4.1.4. In the Chest of A Woman.

Once upon a time, in the Ebusa Kingdom, a princess, Nana Yaa Kyeretwie is engrossed with the desire to establish a norm which gears towards equality of men and women. She feels that, women in the kingdom are as strong and wise as men and that, leadership skill and qualities are not bestowed on men alone.

In the Chest of A Woman deals therefore, with a story which interrogates the relevance and status of women and their quest to assume power and rule as men do. It espouses the belief that power sharing should be equitable and that, what men can do, women can do better. Indeed, Nana Yaa

Kyeretwie, does it better than any man as she is able to kill her husband, all the guards who might have sensed the true identity of her daughter being a girl that she has “de-girl” her, and

20 “en-boy” her. She is able to cut off the tongue of the Midwife (Matron) who helps her in childbirth as a means to shut her mouth forever and ever. She says she has begun…

…A wheel of change that shall leave all Men convinced that In the chest of a woman Is not only an extension of breasts And a feeble heart But a flaming desire to Possess and use power! (35-36)

Name Descriptive Referential Philosophical Appellation A female Born on Ne ho ye huhuuhu Yaa Kyeretwie Thursday who can Asante Power in females capture the Leopard Nana Kwaku Dua Chief of Abusa Asante Kingdom Agyemang Wodua na was san Agyeman. Owusu The Child of Nana Aduome Yaa Kyeretwie Asante Akyiaa Oyi Akwan Asante Okyeame The King’s Akan Ohene yere Spokesperson Agya Oppong The representation Kyekyeku of the community, knows beyond the Asante ordinary. The custodian of the culture -

Analysis

Characters: 19 Characters with Indigenous names: 13

Percentage: 67%

4.1.5. The Legend of Aku Sika

21 This play espouses the usage of the traditional Storytelling procedure in the theatre. It brings about the traditional approach to marriage and how deformity has engulfed all and sundry and it is only through divine intervention that will save mankind. The combination of myth and legend coupled music and dance make it a great choice for analysis. The enstoolment and distoolment of the traditional chief are highlighted in the play. The playwright contends that, individuals living with any deformity must be educated in a special paradigm, to successfully interact with others who may be spiritually and mentally deformed. The playwright seems to suggest that, people spend so much time focusing on the alleged “deficit or pathology hypothesis” that their expectations have been tainted. “The King does not see any deformity in Aku, the orphan who has lost a limb through an accident. This further perpetuates societal hegemony. “Have you ever seen a perfect human being?” The play further explores behavioral styles, parenting, pedagogy and education in kinetic concepts, socialization, oppression, culture, and the playwright. While the play focuses on a variety of areas related to tradition and culture, it generally offers a potential framework for the African community, as we seek self-determination” as we strive to

“develop our communities, economically, educationally, spiritually, and politically.

Name Descriptive Referential Philosophical Appellation Aku Sika A female Born on Fante Shining Star Kwadwan Wednesday (Aku), Money (sika) Yaa Boahemaa Asante Kingdom Helper Anantuo Ama Takyiwaa The King’s eldest Asante Abiam wife

Analysis

Characters: 26 Characters with Indigenous Names: 4

Percentage: 15%

22 4.1.6. The Dilemma of A Ghost

In this play, the playwright focuses on the socialization of the African community. She suggests that, unity is the first step to socialization because without unity, there can be no growth as an

African family. In order to become unified, Africans must identify as members of the African family. Then Africans must pull our own weight by educating their children within the African socialization paradigm and engaging in study about African culture and history. She suggests that there is “No way around serious and disciplined study”. Africans should study individually and in groups, extending the invitation to community members and children. Once we have studied and have gained the knowledge of our ancestors and our vast African traditions, we must rebuild the African family. The mother of Ato, Esi Kom becomes the unifier of the old and new movements in the play. “We thought those who go to school know everything. The play espouses the ignorant of the educated in the society. This pro-supposes that, we all have to learn something from someone. There is the need for the Re-awakening of the African Mind. There is a profound call for Africans to focus on education and socialization while solving our problems of spiritual and identity confusion the dilemma of the African child. “Shall I go to Cape Coast, or to Elmina?” The play encourages Africans to understand that, within our diversity there are many shared struggles that must be considered through collective action.

Nevertheless, in order for that collective action to occur, we must consider ourselves as part of the African family because, we are either African or we are nothing. The exploration of “racial” identity (not cultural) has on educational hegemony. Ama Ata Aidoo provides an analysis of how

23 the naming of Africans (Eulailie Rush) has been successful in separating us as an African family and from our cultural roots.

Nana: Where does she come from, that she bears such a strange name? Hurere…

The playwright concludes by calling on all human beings to purge themselves of the errors in our thinking and supporting the healing process for ethnic families wounded by hegemony. This is exemplified by the action of Esi Kom, an African woman.

Name Descriptive Referential Ato A male born on Saturday Yawson Fante (coined name) Esi Kom A woman born on Sunday (Esi), Fante Kingdom Hunger (Kom) Monka Leave it Fante Akyere Tutor Asante/Fante Petu Owl Fante

Akroma Hawk Asante/Fante A male born on - Ebo Tuesday

Analysis

Characters: 13 Characters with Indigenous names: 8 Percentage: 62%

4.1.7. Conclusion

Efforts to preserve resources on cultural heritage have gained new momentum throughout the world nowadays. Protecting cultural heritage is economical, as well as historical and also a

24 cultural process. While cultural heritage preservation has not yet become firmly rooted in the consciousness of Africans, a great number of people and organizations see cultural resources as critical to the nation’s economic development. Cultural heritage is based on the aspects of our past that we cherish, want to keep and pass on to future generations and outside world. However, the economic benefits of preservation are secondary to the intrinsic value of that heritage which is been preserved. The claim of preserving our cultural heritage through playwriting seems to be encouraging. The Total percentage of indigenous names in the four plays is 49%. Our plays may project some cultural elements, but reviewing the content of the plays analyzed the use of traditional indigenous names has been quite low. It is therefore recommended that, up and coming playwrights should endeavor and make conscious efforts to use the traditional indigenous names for most of the characters for posterity.

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26 THE PRESERVATION OF INDIGENOUS NAMES IN AFRICAN PLAYS By

Daniel Appiah-Adjei

Assistant Lecturer: Department of Theatre Arts, University of Ghana, Legon Telephone: 0244-297412 Email: [email protected]/[email protected]