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Effect of colonialism in nigeria
Religion And Oppression Of Women
Effect of colonialism in nigeria
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Throughout the centuries, the roles of Nigerian women have continuously evolved. During the pre- colonial era, women in Nigerian tribes were not only child bearers and wives, but also free adults. They played critical roles in food preparation, weaving, pottery, and the economy. However, the impact of British rule in Nigeria made a significant shift from the pre-colonial to the post- colonial era. The influence of the Catholic Church, Western style education, patriarchal government and modern ways of making money took a major toll in a woman’s role in society. In Chimamanda Adichie’s novel, Purple Hibiscus, Mama Beatrice and Aunty Ifeoma are dynamic female foils who represent opposite sides of spectrum in post- colonial feminism. Mama epitomizes the product of colonialism, while Aunty Ifeoma challenges the British influence and growing power of men.
The prior history of Nigeria before the 1900’s is critical in exploring the effects of colonialism. During the pre-colonial era, Nigeria was mainly divided into three tribes: Igbo, Yoruba, and Hausa Fulani. A female’s role differed according to kinship structure of the tribe and the status of the woman in the economy. Neither new nor peculiar, women have long been regarded as the “subordinate” class in Nigerian culture. Nigerian women were able to achieve high statuses by lineage or marrying into ruling class families. Under customary laws, a woman’s purpose was to be fertile and able to bear children. Tribes expected their women to marry into Igbo, Yoruba, and Hausa Fulani patri-lineage and bear sons to guarantee the future of the tribe. A wife’s position improved as she gave birth to more children and gain approval from elder members. Women who could not were scorned just as Mama wa...
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...ly able to break free from the oppressive atmosphere Papa created.
Mama Beatrice and Aunty Ifeoma represent different women in post-colonial Nigerian society. Nevertheless, they both show the empowerment and subjugation in the domestic position they serve. From the time Nigerian women had an equal purpose in their tribe as men in pre- colonial Nigeria to the after math of colonialism in 1960, it is clear that colonialism disrupted the traditional system of indigenous Nigerian societies. Nigeria’s women have continuously evolved, but their persistent spirit they always possessed never changed.
Works Cited
Adichie, Chimamanda. Purple Hibiscus. New York: Algonquin Books of Chapel Hill, 2003.
Chuku, Gloria. Igbo women and Economic Southeastern Nigeria, 1900-1960. New York: Routledge, 2005.
Geary, William. Nigeria Under British Rule (1927). New York: Routledge, 2013.
In Purple Hibiscus written by Chimamanda Adichie, the story of Kambili and her experiences throughout Nsukka and Enugu fit with the Hero’s Journey, a model of narrative that describes “the hero,” an archetype that ultimately reaches a great achievement through the stages of the Hero’s Journey. Although played in a realistic setting, unlike many of the examples portrayed in magical worlds such as Harry Potter and The Lord of the Rings, Kambili experiences the same stages of the journey and by definition, is considered a hero. The stages that contribute the most significantly to modeling the Hero’s Journey of Kambili is The Ordinary World, Crossing the Threshold, and The Ordeal.
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As with many surface readings I have performed as a student of literature, however, my perspective on The Joys of Motherhood began to evolve. First, I realized and accepted Nnu Ego's failure to react against oppressive forces in order to bring about change for herself and the daughters of Africa; I consoled myself, reasoning that the novel still deserves the feminist label because it calls attention to the plight of the African woman and because its author and protagonist are female. Rereading the novel, however, also triggered the silencing of my initial response. I focused on such passages as the dying wish of Ona, Nnu Ego's mother, who implored Agbadi, Nnu Ego's father, ...