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The dilemma of a ghost full text pdf

Ama Ata Aidoo's 40-year-old portrait of african marriage still has a rich dramatic life. Her impeccable scenes of Gan village life are lovingly rehearsed in a reverent, coarse production by Michael Walling. Women cooing, tut and shaking with blue heads as Ato, a tossed son, returns from the Us with his new wife towing. His American bride, Eulalie, is considered a black white woman
who comes from no lineage, and fails to conceive as soon as she arrives in 2013. Walling's production is a disasking backdrop of detail, while the script is so rare that it feels like a moral play, which should not bear inspection. Still, it's worth capturing this rare outflow of one of Journalists' finest writers. And the music is stupid. Underlined by the dazzling skills of Osie Korankye,
Seun Shote's Ato straddles conflciting continents beautifully, and Dzifa Glikpoe, Adeline Ama Buabeng and Agnes Dapaah bring masterclasses to the matriarchy - with turns hilarious, touching and thoroughly intimidating. Lucy Powell November 19, 2007 Say It Loud Watching THE DILEMMA OF A GHOST is like to see your mom and tette on stage. This is the greatest compliment
i could pay for this great game, where modern values are confronted with traditional beliefs. Ato, the firstborn son of a Ganno family, is sent to America to study. When he gets home, he's greeted like a lost son. Until he shows his family what he's brought home after years. Not money, not blessings, but an African-American wife whose name, Eulalie, his mother can't declare that
all hell has broken. In their naivety, Eulalie and Ato expect to slip easily into the Ganno lifestyle, but things don't go according to plan and soon drama happens. The grave and abandoned reception room of the African Centre was a complete backlog of stories. Michael Walling, artistic director of the theatre company Border Crossings, has set up an atmosphere that is particularly
dedicated to Ganni concert parties, where itinerant comedians in courty courtyards, telling stories in vibrant style, mixing music, comedy, dancing and magical displays. We - the audience, we sat on stage, listening to the maids who made fun of Papa and his wife, or spoke directly to Papa's grandmother and wee thru and wee. We were drawn to the game and even became part of
it as family members. We witnessed Atova and Eulalie's happiness and allowed us to laugh, dance and sing with them when they were in high spirit. We were all 1,000, if only one night. Adeline Ama Buabeng, in the role of Nana (Ata's grandmother), once again demonstrated why the secified actress, who seamlessly switches between her language and English, inspires fear and
respect. While Dzifa Glikpoe was brilliant in her role as a pertinct and overly severe African mother, she descended on her son to bring food and urged the couple to give her grandchildren. The entire broadcasts a production that brings authenticity, which I've rarely seen on stage lately. THE SPIRIT DILEMMA was a really attractive and refreshing production to watch and proved to
be a true African classic. Alice Gbelia November 14, 2007 Time Out Triangular relationship between mother, son and wife has the potential for inferioty in all situations. It's much worse for Ata. The new bride who brought her home to introduce her Ganly family is not just from a good tribe, but from no tribe. She's from America, where he studied. A wonderful scene in which Ato's
mother, aunt, grandmother and sister await his marriage to a black-and-white woman, a stranger and a slave shows how matriarchal this society is, but you could easily find parallels in Delhi or Surrey. The 40-year-old play Ama Ata Aidoo unravelled its complex themes of tradition, assimilation and sex with clarity but far too much speed. Evlalie Shonela Jackson finds that her
fantasy of African life is running fast in the sand, but her fall into alcohol rage is suddenly sudden. Michael Walling's production (for border crossings, in conjunction with the National Theatre in 1950) gives a strong sense of village life, both in the chorus of gossip and in the wonderful music of Ossi Korankye. This is an evening that reflects, but does it reflect modern relations with
the outside world in the present 100 000 years? That's less clear. THE SPIRIT DILEMMA was a really attractive and refreshing production to watch and proved to be a true African classic. Jonathan Gibbs 12 November 2007 Seatwave Theatre Buff DILEMMA SPIRIT plays in the African Center, which is quietly tucked away in Covent Garden. The African centre is barely visible
between the glittering lights and back west end theatres and restaurants of Covent Garden. But when you come in, it's hard to imagine you're still in London. Long ago, there were no more crowded and jam-packed, buzzing streets. You must have arrived at the local town hall or community center. A few rows of seats stretch down the hall with a shinged area arranged in the middle
of the audience. The play is performed without a levied stage or high-pressure sound and lighting, thus returning the theatre to its basics. It's obvious that this game will be very different from the usual explosive Covent Garden musicals. The dilemma of the spirit is basically about modern cultural conflict. Ato Yawson, a young Gae ced, is returning home with his new bride, African-
American Eulalie, to study in America. Poor Ato seems to be unaware of how difficult it will be to include American Eulalie in his traditional Gannian background. The main issue that clearly causes the most disruption is that Eulalie has decided to use contraception – something women in 2013 cannot understand. A child is fundamental to life and status Woman. Eulalie's decision to
interfere in the natural path of ato's birth force to lie to his family about why they don't have children. Eulalie's devastated that Ato is telling this lie. As a completely Western woman, he cannot understand Ato's loyalty to his tribe of people. This, in turn, leads to Eulalie's heavy drinking and ultimately to the destruction of their relationship. THE DILEMMA OF THE SPIRIT IS AN
UPLIFTING INSIGHT INTO SOME TRADITIONAL AFRICAN CULTURE. It works nicely and easily. It is covered with drum-designed Ganno music and singing, a classic Gan dress and sometimes a tongue. Throughout the game, various emotions, intertwining of humour, love, sadness and anger spread. Sometimes it is difficult to keep track of the exact meaning of certain
references, but the general gist is obvious. However, there are undoubtedly layers of the theo and symbols at the heart of the game, which I know I have not fully picked up, which would enrich its meaning. In a sign of 200 years since the abolition of the slave trade, the legacy of slavery is torn through the dilemma of the spirit – ghosts are a manifestation of slavery. Atom's horrific
dreams - which seem to come from nothing - two children singing the spirit of a slave song turn into a violent and horrific scene in which the double Eulalie takes on the figure of a slave who is repeatedly whip. This part of the game is a powerful reminder of what slaves have passed from their masters; atmosphere in the room condensed with horror and sadness. The whip, who cut
through the air with a threat, was restless and uncomfortable, lasted longer than he would have liked, but it brought me and the rest of the audience face-to-face with a past we can only imagine. THE DILEMMA OF THE SPIRIT WONDERFULLY INVOLVES CULTURE AND ENTERTAINMENT. It rips you out of the Western lifestyle and immerses you in the African way of life.
Zarina Raja 11. made his debut in Legon, Ghana, in 1964; First published in English in 1965.SYNOPSISA a young Boy Boys is returning from the U.S. with an African American wife whose foreign customs and expectations alienate him from his family. Events in history during the gameIgraj in focusAa for more informationAma Ata Aidoo (called Christina, until she left her Christian
name in the early 1970s) was born in 1942 in the Boys of the People of Southern Central Gana. Luckily for her, her family encouraged her female members to learn. She heard the familiar words from her father, Gannese teacher James Emman Kwegyir Aggrey: If you're teaching a man, you're a person, you're a different person. If you teach a woman, learn the nation (Aidoo, Being
a Woman, p. 259). Aidoo attended Wesley Girls High School and the University of Gana, graduating in 1964. Since then, she has studied and taught in Europe and Africa. In 1982, she was appointed by Jerry Rawlings' military government as Ghana's Minister of Education; the following year, it was removed because its views were too radical for the regime. Since then, Aidoo has
lived mainly in Zimbabwe and the United States. Her literary works include stories, poems and children's books. Aidoo wrote her first play Dilemma of The Spirit during her undergraduate studies and was performed by the University of Gana Student Theatre. In retrospect, Aidoo herself expressed her audacity. Ten years after its creation, she said, I did not have the courage today
to confront this issue of Africa and black America in this narrow sense (Aidoo v Vincent, p. 5). Events in history during the game Abandoning The BoysAidoo, Boys, are a subset of Akana, a great unification of nations that makes the majority of the population of southern Ence. The Acan nations are separate, although they share similar cultural practices and speak mutually
understandable dialectes of the same language. Except for Asanta, their traditional rivals, the Boys are the biggest and most powerful of the Akan groups. The Asante Confederation, which controlled the country's internal regions from the end of the seventeenth century to the undermining of the area by the British, has come across its strongest opposition from the coastal Boys.
The boys successfully blocked asanta's expansion to the coast and defended their interests in continental trading until the beginning of the nineteenth century. Even after losing a protracted war with Asante, The Boys maintained their independence from their addicts; their trade and wealth was moving, but they remained free. It was unusual for the boys to initially be perceived as
British colonists who offered a measure of protection and leverage against the Asantes. The boys entered into initial contracts with the British in 1844. At first, the Boys saw the British as valuable trading partners and military rabbits; But when the British tried to use the rights exercised by the royals and the chiefs of the people, the Boys rebelled. To protect their traders and
commercial interests, the British wanted to exercise control over the legislation in this area, but the people did not want to give it up. Although the Boys Confederation of the 1860s failed in an attempt to drive out the British, and the Gold Coast (the future 1874) became a full-fledd British colony, this first anticolonial protest was an important milestone. It inspired later generations of
Ghanaian nationalists and reminded them that the British had not simply taken authority where no one had ever existed; She was forcibly driven away by the original owners. Aidoo himself comes from a long line of fighters (James, p. 13). Her father's grandfather was imprisoned and later killed for his anti-British activities. Aidoo also reports that their truce, rudeness, contempt for
the imperial layout and for the white man (Aidoo, Man's Name in the Sun, p. 31). Akan women – mixed heritage In Being a woman, a long, anecdote and passionately hard essay, written in 1980, Aidoo regrets the traditional thrashing of women in Akan culture. Although the exception is her family, she argues that the normal situation of a woman in 195 is no less ridiculous than
anywhere else.... [O]nce you, young man, were daring enough to take her off the back of your mother, it can also be taken for granted that you have gained sexual help;a damp nurse and nurse for your children;a cook-bouncer and a general housewife;listening to the post; economic and general counsel;field hand and, if you are so switched on, blow the ball. (Aidoo, Being a
Woman, p. 259) Aidoo continues the story after the story, which depicts the discrimination and degradation she experienced as a scholar and writer. Ganposh culture, she said, women still see it as suitable primarily for imitating at home and carrying children. The strong woman is a suspect, she feared, returned to her place. The perception of this inequality has been negotiated by
the fires of Aidoo's feminism throughout her career. However, her claims about the completeness of gender inequality among Akan are somewhat surprising, as some of the characteristics of Akan culture could be expected to lead to greater parity between men and women than is happening elsewhere. These factors include the method of calculating genealogy; division of labour;
sharing of household powers. For most Akana groups, genealogy is matrineal: people calculate their family relationships according to mothers and grandmothers. This abusua is not only an arrangement for organising heredity – it has important legal and social consequences that protect women's rights and give them a measure of autonomy even before their husbands. Authority
in the clan is generally not the oldest woman, but her brother, so the Akanska companies are in the final analysis under male control. However, women play an important role in decision-making, both formally and informally. For example, in the Asante Confederacy, women were responsible for the determination of kings and chiefs, and the sisters of the reigning men had broad
powers and responsibilities and a great deal of personal wealth. Even in non-royal households, older women and brothers work on receiving family duties and setting life paths for younger members of the family. Finally, baroque property law Akana separates men's and women's personal property (and both from family and clan property). Unlike most European women, until the
recent centuries, Akan women did not surrender their personal wealth to their husbands at the time of their wedding. In addition, the Akan Inherited Law requires that women's property be prepared for female family members so that the woman's property remains a woman. Despite but women are basically measured by their success in carrying children: a barren woman is one of
the most despised and pathetic creatures. The division of work between Akan is similarly mixed in its effects on women. Men and women participate in agriculture, with the men responsible for clearing the land, women and children who rely on fields; women are generally in charge of cooking and cleaning. Hunting and fishing, two of the most important sources of food and money
for the boys' coastal apartment, are the male domain. But women dominate another, even more important segment of the economy: petty trade. In markets and street corners throughout Akan territory, women's AKANTraditional life revolves around family and the square for all branches of the Akan people. Akan religion is at the heart of respect for ancestors; The family's founders
celebrate throughout the year, build themselves into prayer and participate in many rituals. For example, when a couple has a child and gets a traditional gift of a bottle of gin or wine, the first drink is poured into the earth as a libido for deceased ancestors. The living have a sense of dependence on their ancestors; it is believed that they constantly keep an eye on living
relationships and punish those who break customs (Warren, p. 31). Akan generally assumes that early death is the punishment of these ancestors for some sin; the old – and thus virtue – members of the clan are highly respected. The oldest members of the extended family are generally responsible for sharing duties and privileges among younger members. Although the social
and political movements of this century have led to changes in Akan lifestyles, especially in major cities and among the educated elite, the basic Akan social unit is still an extended family. A man pays his wife's family to the bride after which he enters his family unit. When a man makes his payment (in money, goods or services), he formalizes his marriage to a woman and gains
complete control over her. It is still not unusual to find several generations of a family that lives in one large apartment, with a house-to-handness and various dependents. Even when modern cases prevent this organization, the family remains close. For example, in the dilemma of the spirit, a graduate ATO student must live in the city where his work is; But his family not only have
room for him in the family junction, but they actually add a wing to the house for him and his new family. Akan has different forms of cultural expression. Music plays an important social role, especially in situations of mourning and celebration; drums are the most important musical instrument. Metal working, terra cotta pottery, wood-carving, and especially risk are highly
developed; The Kente cloth, produced in 1980, is world famous. Good narrators are highly regarded, and proverbs pepper everyday speech. The fundamental Akan proverb is Wubu Be a, obsessing wo ase, which in translation means If you tell fools a saying, you will be asked its meaning (Warren, p. 64). Proverbs convey people's minds and express their deepest understanding of
human existence. In its 50 pages, the dilemma of the spirit manages to incorporate expressions of all these facts of traditional Acan life. The extended Yawson family acts almost as a single character to oppose Ato and his wife. At the forefront of the game is the intersection that leads to the market, farmland and Yawson home, symbolically combining the main aspects of Akan life.
The most eloquent proverbs and folklore are essential to the content of the game. To present the play, Aidoo selects Bird Paths, a folkloric figure that symbolizes storytelling and rumors. African characters, especially two village women who comment on the Yawson's problems, use proverbs to make arguments. Once the tribal wisdom is produced, there seems to be nothing more
to say.still monopolizes the sale of food items and a lot of small goods. Sociologists have estimated that 90 per cent of sales of certain common items (such as clay pots, plantaines, carpets and shawls) are made by women, and more than half of all women's employment is on the market. Senior sociologists wanted to overlook the importance of trade and sales, thus
underestimating the status of women in Ghana; recent studies have shown the importance of such activity and provides a measure of autonomy for women. The expansion of Western-style education has also led to more diverse opportunities for girls. And while boys have benefited more overall, more and more parents have felt that education is important for all children. Aidoo
itself is an early example of this growing trend. Despite all the potential benefits that could grow from their matriarchal importance, authority in the home and commercial activities, Akan women are in most cases still second-class citizens. The UK report summarises the situation: in all ethnic groups in Gonna, women are not considered equal to men, and this belief is reinforced by
social practices [such as polygamous] and religious beliefs. Throughout 1999, a woman is considered to need protection and is under the control of someone, usually a man, throughout her life. (Manuh, p. 3) You turn the diaspora around? The transatlantic slave trade of the fifteenth through nineteen centuries decimated the population of West Africa, which ripped millions of
Africans from their homelands and deposited them in America. These early arrivals, African slaves and their descendants, have been ing for a strange, bilateral situation in the Western Hemisphere. On the one hand, they were clearly no longer African: in a generation they spoke a language that the colony had been anulysed. In the meantime, they have developed new languages
of internal communication that are characteristic of themselves and different from the and patio in the Caribbean and Western indi sheer regions. It was a great achievement, remarkable in the midst of calculated deprivation. It is always the case for second class, inferior people who are only suitable for forced labour, slaves have never been allowed full membership of society in
general. Their colonial masters, skin color and African origins, described them as frail. It's not surprising, then, that the black equality movement in the United States has included a deep curiosity about Africa. Historians pointed out that thoughts about Africa were growing among African Americans when racial tension in America was high. Before the abolition of slavery, there was
a movement calling for the repatriation of black slaves to Africa. Supported by white supremacists who wanted to keep America clean as blacks, this movement led to the emergence of colonies of Sierra Leone (1787) and Liberia (1822). This desire for mass return was revived briefly after the Civil War, when white Southerners tried to terrorize their former slaves back to suboil.
However, to this point only Africa has been mowed down by European forces in the race to expand their empires, and such aspirations have not become a reality. In the early 20th century, African-American relations towards Africa changed. Among the small educated elite, the idea grew that people of color in the world had to come together to end all forms of racial oppression, be
it segregation or colonialism. In America, this movement was borne by W. E. B. DuBois, who helped organize conferences on race that attracted not only African Americans, but also many members of the rousing African nationalist movements. What DuBois was for the black American elite, Marcus Garvey was for the masses of disappointing African Americans. While DuBois
explored the intellectual foundations of racism and sought legitimate ways to combat it, Garvey mixed millions with impasse rhetoric. He argued that the inferior would be greater than black as long as they lived in white society, and called for a return to Africa, which was liberated by its colonial oppressors and united as one nation. Garvey's popularity shows the depth of black
stunning with life in the racially unequal countries of the Americas.In the 1950s, the attitude of Africans and African Americans took a new turn. In the United States, the civil rights movement, which has tried to demolish the structures of racial inequality, has coincided with many African countries' fight for independence. African Americans celebrated the liberation of 1957 from
1957, and there was an explosion of interest from African Americans in the history and cultures of Africa on the side of African Americans. (Sam W.E. B. DuBois moved to Ganna in the early 1960s and became a Ganninian citizen in 1963.) Finally, the conditions for closer relations between Africa and diaspora Africans in the UK appeared to be hope was not unfounded; but was
somewhat optimistic. From the movement that led to liberia's creation in the 1820s, to Garveyism in the 20th and beyond, American blacks used the idea of Africa as a symbol of freedom and at home, but they thought less about the real differences that separated their experiences in the U.N. from the one they didn't take. The educated elite and a few missionaries actually
traveled to Africa, and African American scholars have done much to enrich the scientific understanding of African culture. But the average black American knew nothing more about Africa than the average white American, and the image each had was made up as many film pictures and postcards as actual reality. In 1960, Rayford Logan wrote, American blacks who grew up
earlier this century probably first heard of Africa, when a minister, priest or missionary called for funds to support the missions in it. Missionaries often distorted the image of the African way of life because they did not understand it (Logan, p. 218). Other sources of information included adventurous films that were set in the African jungle and newspaper reports – almost the most
accurate portraits of African life. When Eulalie, a young African American in the Dilemma of the Spirit, comes to her new husband's village, half expect to meet a simple, childish African who she saw on postcards and movies; Instead, he finds a sophisticated culture, which ways he doesn't understand and which members he constantly insults. Thus, despite their natural interest in
their home, African Americans have learned a lot about Africa. And, as Eulalie Yawson's experience in The Dilemma of The Spirit shows, the learning experience was as painful as fulfilling. Summary The game in FocusPlotuDilemma spirit covers more than a year in the life of the Yawson family, but presents the action in short particles that have spread over time. Thus, Aidoo
presents the degeneration of Papa Yawson's relationship with his family as a real slow progression; at the beginning of each scene, the conversation between characters fills the gap at an unsad.com. The game opens with a long speech by Birds out of the Way. This folkloric figure introduces Yawsone, a family of great wealth in the countryside outside Akri in 1950. It seems great
because the Yawsons spent a fortune studying the firstborn son of the clan, Ato, in the United States. Now he's back. In preparation, the Yawsons added a wing to the clan house where he will stay when he visits - because he has to live in the city where his work is. The bird disappears from the path, and Ato walks on stage with his wife Eulalie, an African American. He and Atom
fell in love at school, and now he's brought her to her homeland to live. In this short opening scene, the audience sees young anxiety and optimism. They know they are going into a difficult project of cultural reconciliation, but they are confident that they will manage the situation. Eulalie is thrilled to be in Africa: Again, to belong somewhere... convinced that this must be bliss
(Aidoo, Dilemma of the Spirit, p. 9). The first act begins with two village women, the first woman next door and the second woman next door to serve as a choir, and comment on the action of the game. They provide important information and reinforce the themes of family interaction in the yawsonih story. The first woman is childless and weeps this fact; another claims that
children are as much a burden as aid. They claim it's Esi Kom, Ato's mother. Another woman claims Esi was indebted to her son's education. But now that she's educated, she points out the first woman can get a high-paying job to pay all her debts. After the departure of the two women, the Yawsons welcome Ata, who came to the family home without Eulalie. This scene
introduces Yawsone: most importantly, his grandmother, Nano, and his defiant, rebellious sister Monko. The scene opens in playfulness and celebration, but it closes in tears. In the middle of the scene, Esi Kom mentions the price of the bride she put up for Papa's wedding and assumes that he will soon marry someone in their area. At this point, he has to admit that he's already
married. The announcement creates confusion and confusion that only grows when the Yawsons find out that their new father-in-law is American. Initially assumed to be white; They soon find out she's African American, a descendant of slaves, but that doesn't soothe them. In the company of Boys, marrying a slave, marrying a woman without a family; And not having a family
history is the worst thing that can happen to the Boys. The act of 1 is closed by a nano that weeps the fact that she has lived long enough to witness this shame. The second act consists of two short scenes. First, two women return to discuss the children's obligations to their parents. This debate provides an anti-island soliloquy, carried out by Eulalie, which follows immediately.
Aside from the page and a half, Eulalie remembers her life in the United States and her enthatisfaction with racial inequality. He's once again celebrating being in a spiritual homeland where he belongs... But those pleasant thoughts are scattered when she's afraid of being beaten suddenly in the distance. It seems that Eulalie is not as comfortable with African culture as she would
like. Ato comes in and talks about drums, witchcraft and kids. Eulalie reconsiders her original desire to delay starting a family. In a move that will have significant consequences, Ato insists they stick to the original plan of waiting for children. The 3rd act will be 6 months later. The boy and the girl are being shoved into the Yawson house to play hide-and-seek. Sing a song that gives
the game its title, A song of spirit at the crossroads that can't decide whether to go to Cape Coast or elmino. The song awakens Ato from the afternoon zap. He's angry because it gave him a bad dream. This short scene sets out the tone of the explosion that follows. Two hours later Esi Kom brings a bundle of snails to Ato and Eulalie; Eulalie, however, is thrown away and
discarded when learning that they are intended as food. Monka testifies to this rudeness and tells his mother. Esi Kom and Monka vent all the complaints they have been denies since his return: he and Eulalie were rude when the family visited them in the city; Eulalie does not respect her husband's culture; Worst of all, Ato spends all the money he earns on Western luxury items
for Eulalie while his family continue to wallow in debt. Eulalie, who doesn't speak Boys and no longer knows what can fall out of their tone of voice, makes them even more irritated by the European, non-feminine act of chain-smoking. The fight ends in a dead end when Monk and Esi Kom rush away. The fourth act takes place six months later. The occasion is the annual suing of
mud, a ceremony that celebrates the ancestry of the family. (Mud represents its ancestors – some families keep one stool and the other one for each of the former clan heads. In any case, sanding mud with water or wine is a way to recall ancestors and propitize them so that they will ensure a profitable year.) This is a time of great concentration on family, heritage and obligations
– all the things that Ato has ignored. The act begins, again, with two village women. There are rumours that Ato didn't give money to his family and that Eulalie spends all his wages on the machines. Then they add the news: The Yawsons believe Eulalie is unsue. Eulalie comes in, drinks whiskey. Ato stupidly says she's going to stop. His uncles are entering and informing them that
they want to perform an Akane ceremony to help Eulalie conceive. Almost everyone can be forgiven if Eulalie can present nani with a grandchild. Ato is shocked by the proposal and too scared to admit that the problem is not infertility, but purpose: he and Eulalie don't want the baby yet. When she acknowledges Eulalie's condition, she's mad at him, too. She began to see him as a
coward who would rather let his family hate her than explain her customs to them. The fifth marriage starts the next morning and Eulalie is drunk. She and Ato are fighting. His people are called savages; How much does american black know? (Dilemma, p. 48). He finally hit her, then ran away when she crumpled to the ground. Time shifts to midnight that day. Ato's going around
the stage screaming for mom. Two women are also entering and discussing the evil monsters that surround this marriage. When they leave, Esi Kom opens the door to the house. Ato tells her that Eulalie has disappeared and tries to explain the reasons for their argument. But instead of offering Esi Kom castigates him. He realizes that since he did not serve as an intermediary
between African and African Americans, he failed both sides: Before a stranger should be steeped in a finger / In a thick palm nut soup, / This is a small town / He had to tell him (Dilemma, p. 52). Eulalie then goes on the set and Esi Kom takes her into the house. The game ends with Ato standing, alone and disbanding, in the yard. When the lights go out, the voices of the children
are heard singing, Should I go to Cape Shore? You want me to go see Elmina? I can't tellHall I? I can't say I can't say I can't say I can't say.... (Dilemma, p. 52) The urgency of motherhood In soliloquyu, which discusses Eulalie's exotic stove and fridge, the first neighbor says, Your machines, my jane doe,you can't go on a dress to dress you when you're dead... But now you have
to buy one machine that will cry for you, jane doe, that's what you need most. For my world, the way you ran is the most unkind to unkind. (Dilemma, p. 40) It is important that this speech is the day of the first woman to mourn her own ineasm throughout the game. For her, it was the worst of all the curses; i would not understand the intentional efforts not to conceive a child. The
first neighbor is not alone. One of the defining characteristics of Akan society is its emphasis on fertility as a measure of a woman's success. Children are appreciated and cramped; the family's energy is focused on maximise the possibilities for them. But any kind of failure in the birthing process puts a woman at risk of persuading and rejection. Jalo is still among the most
common reasons for divorce. Before the spread of modern medicine, infant mortality stood at 50 percent; All kinds of charms and rituals were designed to prevent this catastrophe. If the newborn child died eight days ago, the mother was angry and mutilated the body, wrapped it in sword-grass, put it in a pot and buried it near a female latrine; this should deter him from returning'
(Warren, p. 13). The burial of a child is reversed by the usual funeral ceremony; participants wore white to insult the spirit of the dead child and prevent him from returning. Similarly, death in childbirth was a great shame and the dead woman's body was abused along with the child. And, as witnessed in the Dilemma of the Spirit, other rituals were designed to increase fertility or the
supermodition of infertility. THE SONG OF TWO CITIES Cities, which were loaded into the song of spirit, Cape Coast and Elmina, are both loaded with meaning in Ganno history. Elmina is a fairly old town, one of the oldest urban centers of Akan. Cape Coast, by contrast, is a fashionable modern city, important today as an educational centre (Chews in Cox, p. 38). Cape Coast
was built by the British and used as their administrative capital until the 1870s. Elmina also plays a role in Ghana's colonial past; was there to the Portuguese their first commercial ment in 1950, at the end of the sixteenth century. Thus, both cities come to the meeting of the Acan people with the Europeans. The indecision of the spirit that in Ato is attacking such terror seems to
reflect the indecidable ripple of the main character between African and Western views of life. He's devoted to his wife, but he doesn't explain his own culture. He wants to stay on good terms with his nuclear family, but he doesn't deal with them properly. In short, he tries to have the best of both worlds so as not to reject any part of either. Although blush may not seem to be
attracted to his own culture at first, many of his campaigns suggest otherwise. At a crucial moment at the end of the game, if we give one example, she slaps Eulalie and says that she knows nothing about Africa.Immediate cultural reasons for this emphasis on childbearing age can be understood simply enough. In a pre-industrial culture where the basic way of survival is survival,
a large family is safer than small. Children do not dry up the family of its resources; instead, they become contribute to its wealth at a relatively early age. They help farmers and harvest crops, help mothers in a tiny shop and do housework. Moreover, in a culture where public social assistance and social services are still evolving, people cannot depend on government for support
when they get sick or too old to work. This role must be taken by the family. In fact, the extended family is a key social unit in Akana society. An old man with no family who can accept him, a person who has weighed up his family – these people are actually in a precarious situation. So children are not simply objects of love, they don't just help around the house: they are the best
investment a married couple can make in their future. The economic usefulness of children is reinforced by their religious and cultural significance. The Acanian religion is based on family. On the one hand, the family's deceased ancestors look after their living descendants; these spirits or spirits are prayed, remembered in ritual, and are sufficient. We imagine that they have the
power to help the living or punish them for their sins – including the disregard of children immediately, as Esi Kom notes: any woman who does so will die because of the anger of her fathers' spirits – or at least she will never have children when she wants them (Dilemma, p. 51). However, the spirits of the ancestral families also depend on their survivors. Without descendants to
be honored and remembered, these ghosts of ancestors are forgotten, homeless. This explains the poor treatment offered to the corpses of babies who do not survive; The family wants to drive away a spirit that cannot live and keep him from coming back to haunt them again. Ato Yawson has all the responsibilities he has as a son in Akana society. He forgot that he was educated,
not for himself, but to help his family make a better life. The Yawsons were indebted to fund their American education, but from their point of view it wasn't about sacrifice, it was about investment. The high-paying white-collar job he gets when he returns is supposed to pay off his debts and more. Instead, Ato focuses on himself and his wife, who provides luxury items for their home
while ignoring their mother's financial problems. This in itself means neglecting the traditions of its culture, but there are many. As Esi Kom realizes, her son did not explain his culture to his wife; He let her think his family was an inguish, uncultural primite. Therefore, even though Eulalie is the one who ultimately called the Yawson savages, she must bear responsibility for her prey;
he did not respect his family enough to follow their tradition, which is worth defending. All these shortcomings are focused on Papa and Eulalie's decision to postpone the birth rate. For Yawsone, it's the ultimate gesture of arrogance and selfishness. Contraception means playing god, thinking that one has the right to decide when a child's spirit can enter the world. It is also selfish;
the choice not to have children means the assumption that the child is only the property of the husband and wife, with a view to the fact that everyone in the extended family wants to see new allowances. In the end, it is the most obvious symbol of the belief that my life is the most important thing, that a man has a right or even a duty to live for himself. It is therefore right that
instead of machines or money or education, this causes Ato and Eulalie to fight with the Yawson family. The resources and literary context of Aidoo's career as a writer began with short stories published in the influential West African literary journal Black Orpheus. Her first popular success was as a playwright. While she was an undergraduate, she became associated with Efue
Theodore Sutherland's drama studio in 1950. Efua Sutherland was the first Ghanaian playwright and the most influential at the time aidoo's play appeared; However, she was as important to her work with players and other playwrights as to her games. She was enthusiastically experimenting with new ways of playing, bringing cheap outdoor cinema to a country whose casinos
were largely modelled on expensive, indoor cinemas in Europe. Sutherland used tropes from the Greek tragedy, which may have prompted Aidoo to include the Greek choir of two village women. Perhaps most importantly, Sutherland has provided a forum for literary-thought playwrights such as Aidoo to develop their skills. Aidoo said she found her theme in everyday life: she knew
many married couples of mixed African and African American origin. It also draws attention to the 2016 general interest in the black experience around the world: I come from a people whose connection to African America or the Caribbean was, for some reason, a living ly-state, which we were always aware of (James, p. 20). She also worked with tradition in the West. literature of
all degrees: a match-to -- native African who has studied in Europe or America) who returns to his people with a white wife. Aidoo ironically suggests that when adjusting for African life, skin color doesn't matter: An African American won't have an easier time than any white newcomer. This ironic use of the popular type further allows Aidoo to explore the possibility of connections
between blacks around the world. Like many of Shakespeare's plays, The Dilemma of Spirit stirs poetry and prose. The language of the game differs from the emotional charge and imagistic poetry of two villagers, to the simple marital suing of Papa and Eulalie. This variety reveals Aido's ambitious interest in a large number of genres in which most would go to work. After the
second play, Anowa, she began publishing volumes of poetry, short stories and experimental novels Our Sister Killjoy and Change. Aidoo suggested that African drama seeks to preserve its integrity by growing from contemporary African experiences and to combine African forms of oral narrative with Western literary forms. Its dilemma of spirit achieves both objectives – it
addresses the topic of contemporary importance in Africa and mixes African oral forms, such as the saying, with Western dramatic forms. On 12 March 1964 and March 14, 1964, the Dilemma spirit was first performed by the Student Theatre in Legon, 1964. In 2014, the game's most poah-like drama, Aidoo, has been suspended. Critics saw the game as interesting, at times
brilliant, but also structurally flawed. Naana Banyiwa Home states that the weaknesses are mostly structural, grow from Aido's innovative efforts to mix African oral and Western literary elements, and for short play the dilemma has too many acts (Dom, p. 36). Cosmo Pieterse agrees that the game has both strengths and weaknesses: The game has flaws and not flaws; fair
craftsmanship carries one of the poetry, whimsy and humour of the introduction to the hearty superiority and hope of the end; the following coherence and depth are achieved at the expense of formal unity (Pieterse, p. 170). Looking at the play from a different angle, Mildred Hill-Lubin accuses Aidoo's characterization of Eulalie revealing the ignorance of African American life. In
any case, many of [Aidoo's mistakes] can be attributed to the author's youth, while also highlighting a more serious concern. They demonstrate a crude lack of information, a kind of concept that many Africans have about their siblings in the United States (Hill-Lubin, p. 195). Karen Chapman provides a longer list of technical flaws, including the game's ability and his tendency to
leave Thematic issues that hang but conclude, Despite these probably youthful flaws in technique, Miss Aidoo has addressed human problems with an understanding that is not available for many playwrights twice her age (Chapman, p. 30).— Jacob LittletonFor More InformationAidoo, Ama Ata. The dilemma of the spirit and Anowe. London: Longmann, 1985.____. Men's names
in the sun. In the strange daughters of the empire. Sydney: Dangaroo Presss, 1993._____ Being a woman. It's global in my sisterhood. Robin Morgan, ed. Garden City, N.Y.: Doubleday, 1983.Chapman, Karen. Introduction to the dilemma of the spirit. V Sturdy Black Bridges. Roseann Bell, Bettye J. Parker and Beverly Guy-Sheftall. Garden City, NY: Doubleday, 1979.Cox, C.
Brian. African writers. % vol. 1st New York: Charles Scribner's Sons, 1997.Hill-Lubin, Mildred. The attitude of Africans and African Americans: They repeat the theme in the work of Ama Ata Aidoo. Presence Africaine 124 (1982): 190-201.Home, Naana Banyiwa. Ama Ata Aidoo. To the Dictionary of Literary Biography. % vol. 117. Bernth Lindfors and Reinhard Sander. Detroit: Gale
Research, 1992.James, Adeola. In their own voices: African female Writers speak. James Curry, 1990. Logan, Rayford. An American black view of Africa. In Africa, as American black people see it. New York: Presence Africaine, 1963.Manuh, Takyiwaa. The law and status of women in 1950. Addis Ababa: United Nations, 1984.Pieterse, Cosmo. Dramatic riches. Journal of
Commonwealth Literature 2 (1966): 168-171.Vincent, Theo, ed. Seventeen black and African writers on literature and life. Lagos: Center for Black Arts and Culture, 1981.Warren, Dennis. Ganno Akan. Accra: Indicator, 1986. Black nationalism, Raymond A. Winbush Black nationalism is the ideology of creating a nation state for Africans living in Maafa (kiswahili term used to
describe t... Afrocentrism, Afrocentrism has a long and often misunderstood history. Although usually associated with the intellectual line that runs from Cheikh Anta Diop (192... Panafrism , Panafrism is an internationalist philosophy based on the idea that Africans and people of African descendant share a common bond. Pan Afric... African religions , AFRICAN RELIGIONS •••
This entry presents a short, general picture of African traditional religious heritage, which focuses on the main beliefs, because... African diaspora , The African diaspora is a term that refers to the dispersal of African nations to form a separate, transnational community. It's most commonly used for... African socialism , socialism, africa There are two basic models of African
socialism that represent its variations and developments on the continent (Rosberg and Callag... Dillane's mother, Stephen Dillon, Dillard University: Narrative Description Dillard University: Tabular Data Dillard, Godfrey J. 1948- Dillard, J.M. 1954- (Jeanne M. Dillard, Jeanne Kalogridis) Dillard, R(ichard) H(enry) W(ilde) W(ilde)

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