Authors
• Ogakason, Rasheed Oshoke,rashmanson@yahoo.com,Department of Theatre and Performing Arts
•
Abstract
This paper conducts a feminist discourse of Oludolapo Ojediran’s Omolewa,
foregrounding the dynamics of female autonomy within the framework of
contemporary African drama. Through a close reading of the text, the paper
interrogates the prevailing socio-cultural ideologies that defines womanhood
through marriage, domesticity and reproductive obligation. The paper is
premised on African Feminism Theory developed in the early 1980s by
Filomina Chioma. African Feminism theory is rooted in the socio-cultural
realities of African women and acknowledges the unique intersections of
patriarchy, colonial history, tradition, and economic marginalization that shape
African women’s lives. The analysis further examines the intersection of
education, motherhood, and autonomy as tools of emancipation for African
women navigating a male-dominated society.
By engaging both textual analysis and feminist theory, the paper contributes to
the growing body of scholarship that reconsiders African female subjectivity
through the lens of resistance, autonomy, and social transformation. It
ultimately affirms Omolewa as a vital cultural text that challenges hegemonic
gender norms and reimagines the possibilities of womanhood in a modern
African context. The paper examines the strategies employed by the
playwright to subvert traditional gender roles and promote a discourse that
validates women’s experiences and aspirations. Conclusively, the paper
situates Omolewa within the broader context of Nigerian feminist drama,
arguing that it does not only reflect the realities of Nigerian women but also
contributes meaningfully to the ongoing struggle for gender equality and
social justice.
Keywords
Feminism; Female Autonomy; Feminist Theory; Womanhood; Drama
