University of Ghana http://ugspace.ug.edu.gh THE VOCABULARY OF POLITICAL DRAMA: THE VOICE OF THE PLAYWRIGHT IN THE RETURN OF NKRUMAH BY DZIDUDU DARKEY-MENSAH (10199896) THIS THESIS IS SUMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILMENT OF THE REQUIMENTS FOR THE AWARD OF MPHIL THEATRE ARTS DEGREE SCHOOL OF PERFORMING ARTS UNIVERSITY OF GHANA, LEGON. July 2016 University of Ghana http://ugspace.ug.edu.gh DECLARATION I hereby declare that except for references of other people’s works which have been cited and duly acknowledged, this work is the result of my original research and that this thesis has neither in whole nor in part been presented for an award of a degree elsewhere. Dzidudu Darkey-Mensah …………………… ......./……/20…… (Student) (Signature) (Date) Prof. Martin Okyere Owusu …………………… ……/……./20….. (Principal Supervisor) (Signature) (Date) Dr. Regina Kwakye-Opong …………………. ……/……./20….. (Co Supervisor) (Signature) (Date) i University of Ghana http://ugspace.ug.edu.gh ACKNOWLEGEMENTS I am greatly indebted to Mr Paul Dzifa Dzasa, my lovely husband, for the support and encouragement, which led to the successful completion of this thesis. To him I say thank you, for being a strong pillar to lean on during those tedious, frustrating and emotional moments while working on this thesis. Thanks for helping me discover my creative muse. I also render my heartfelt appreciation to Ms. Sarah Dorgbadzi, Dr. Regina Kwakye-Opong and Prof. Martin Owusu for believing in me and creating a suitable and favourable work environment for me, especially during those difficult moments I spent at the hospital during the course of the work. Finally yet importantly, I also express my profound gratitude to all staff and students of the Theatre Arts Department, who played active roles during and after the play reading. Thank you all for the contribution, comments and advice. Above all, I thank the Almighty God for being my strength and direction throughout my studies. ii University of Ghana http://ugspace.ug.edu.gh DEDICATION This thesis; is dedicated to the glory of God and to my son, D-dem Nayram Kodzo Dzasa, whose birth will forever remain memorable as far as this thesis is concerned, and to my supportive and loving parents Mr. Vincent Kofi Darkey-Mensah and Mrs. Esinu Darkey-Mensah. iii University of Ghana http://ugspace.ug.edu.gh ABSTRACT This is an analysis that sets out to demonstrate by example the treatment of a political subject matter in a play-text that focuses on the art vocabulary with the hope of not sacrificing the content for its form. The independent use of history, poetry, prose, metaphoric and symbolic illustrations are fundamental to several initiatives in the creation of the resultant play The Return of Nkrumah. The dissertation therefore discusses the blunt vocabulary of plays and the findings result in the creation of a play- text that treats contemporary political issues of national interest. Pertinent issues regarding corruption, theft, greed and the manipulation of power are discussed and transformed into a creative work. This is because the observation is that most Ghanaian plays are skewed towards the experiment of form than of content. Unlike their other African contemporaries such as Femi Osofisan, Zakes Mda, Cont Mlanga among others, who sternly and unrelentingly critique their countries by directing their plays against economic and political incongruities, unfavourable government policies, corruption, among others, most Ghanaian plays are social dramas that comment on general social norms and vices but not necessarily aimed towards the Ghanaian government and some of its hostile policies. The research then, became significant because the experimental play, The Return of Nkrumah, whiles treating the issue of corruption, also establishes an artistic concept that exhibits a gallery of literature in the contemporary Ghanaian drama, by introducing a style of presentation where independent poems are fashioned into the dramatic structure. These poems carry the central theme of the play. Hence the study, seeks to fill in the vacuum, and to add up to the existing political dramas in the Ghanaian theatrical circle. The major research method employed is the qualitative research approach. Data have been collected from archives, interviews, observations, and published works. The resultant play, The iv University of Ghana http://ugspace.ug.edu.gh Return of Nkrumah, reveals the pragmatic consequences of greed, bribery and corruption, theft and other political incongruities on the development of the Ghanaian nation. The focus of the play seeks to sensitize Ghanaian civil servants especially those that matter in decision-making on the harmful effects of corruption and recommend that the anticorruption campaign must first start from the grassroots. The play is intended to generate a scholarly debate amongst theatre critics on the artistic concept and among audience as a contribution towards minimizing this social problem. The study recommends that in creating a political play with didactic nuances, it is important that the plot is not too metaphorical, such that the political subject matter is lost. In addition, future researchers will need to explore further, political drama as machinery for reshaping the Ghanaian political structure. v University of Ghana http://ugspace.ug.edu.gh TABLE OF CONTENT DECLARATION ........................................................................................................................ i ACKNOWLEGEMENTS .......................................................................................................... ii DEDICATION .......................................................................................................................... iii ABSTRACT .............................................................................................................................. iv TABLE OF CONTENT ............................................................................................................ vi CHAPTER ONE ........................................................................................................................ 1 1. INTRODUCTION ............................................................................................................. 1 1.1 Background ...................................................................................................................... 1 1.2 Explanation of Concepts .................................................................................................. 3 1.2.1 Vocabulary ................................................................................................................ 3 1.2.2 Political ..................................................................................................................... 4 1.2.3 Blunt Vocabulary ...................................................................................................... 6 1.3 Problem Statement ........................................................................................................... 7 1.4 Objectives of the Study .................................................................................................... 8 1.5 Research Questions .......................................................................................................... 8 1.6 Significance of the Study ................................................................................................. 9 1.7 Scope of Study ............................................................................................................... 10 1.8 Organisation of Study .................................................................................................... 10 CHAPTER TWO ..................................................................................................................... 12 2.0 LITERATURE REVIEW .................................................................................................. 12 2.1 Introduction .................................................................................................................... 12 2.2 Political Drama .............................................................................................................. 12 2.3 The Vocabulary Of Political Drama .............................................................................. 17 2.4 The Vocabulary of Some Ghanaian Political Play Texts ............................................... 23 2.5 Conclusion ..................................................................................................................... 28 CHAPTER THREE ................................................................................................................. 31 3.0 METHODOLOGY ............................................................................................................ 31 3.1 Introduction .................................................................................................................... 31 3.2 Section One .................................................................................................................... 32 3.2.1 Field Data Collection Instruments and Procedures ................................................. 32 3.2.2 Focus Group Discussion (FGD) .............................................................................. 34 3.2.3 Interview One .......................................................................................................... 36 3.2.4 Interview Two ......................................................................................................... 37 3.3 Section Two ................................................................................................................... 38 3.3.1 Play Creation Processes .......................................................................................... 38 3.3.2 Pictures of the Play Reading ................................................................................... 46 3.4 Conclusion ..................................................................................................................... 51 vi University of Ghana http://ugspace.ug.edu.gh CHAPTER FOUR .................................................................................................................... 52 4.0 FORMAL ANALYSIS OF THE RETURN OF NKRUMAH ........................................... 52 4.1 Introduction ........................................................................................................................ 52 4.1 Content ........................................................................................................................... 53 4.1.1 About the Play ......................................................................................................... 53 4.2.2 Theme ..................................................................................................................... 54 4.2.3 Setting ..................................................................................................................... 58 4.3 Form of Presentation ...................................................................................................... 59 4.3.1 Plot .......................................................................................................................... 59 4.4 Symbols and Metaphors ................................................................................................. 64 4.4.1 Object as Symbolic Metaphor ................................................................................. 64 4.4.2 Character as Symbolic Metaphor ............................................................................ 65 4.4.3 Names as Symbolic Metaphors ............................................................................... 66 4.5 Styles of Verbal Expression ........................................................................................... 67 4.5.1 Prose ........................................................................................................................ 67 4.5.2 Poetry ...................................................................................................................... 68 4.5.3 Diction..................................................................................................................... 68 4.5.4 Tone, Mood, Atmosphere ....................................................................................... 69 4.6 Dramatic Devices ........................................................................................................... 71 4.6.1 Conflict ................................................................................................................... 71 4.6.2 Flashback ................................................................................................................ 72 4.6.3 Humour ................................................................................................................... 72 4.6.4 Suspense .................................................................................................................. 73 4.7 The Vocabulary of The Return Of Nkrumah ................................................................. 73 4.8 Ghana’s Political History As Source Material For Creating The Return Of Nkrumah .. 78 CHAPTER FIVE ..................................................................................................................... 92 5.0 SUMMARY, CONCLUSION, FINDINGS AND RECOMMENDATION ...................... 92 5.1 Summary ............................................................................................................................ 92 5.2 Findings ............................................................................................................................. 94 5.3 Justification of Objectives .................................................................................................. 96 5.4 Conclusion ......................................................................................................................... 96 5.5 Recommendations .............................................................................................................. 98 APPENDIX .............................................................................................................................. 99 1. CAST LIST ...................................................................................................................... 99 2. THE RETURN OF NKRUMAH PRELUDE ................................................................ 100 3. MEMO ........................................................................................................................... 183 REFERENCES ...................................................................................................................... 184 BIBLIOGRAPHY .................................................................................................................. 187 vii University of Ghana http://ugspace.ug.edu.gh CHAPTER ONE 1. INTRODUCTION 1.1 Background The title of this work focuses mainly on the vocabulary of drama using political plays as its stringboard. It discusses vocabulary as a range of artistic or stylistic forms that describes an artwork. This includes a holistic view of what the dramatic piece communicates. Like the vocabulary of a painting, sculpture or dance that does not necessarily make use of words but projects ideas, stories or thoughts, the vocabulary of drama as used in this thesis, does it through its aesthetic expressions. The various icons that differentiate one genre of drama from the other, or one artwork from the other is the vocabulary of the genre on one side and the vocabulary of the artist on the other side. This artistic expression therefore, considers the style of presentation, theme, symbols and form as one integrated unit in the communication process. From this perspective, vocabulary forms the bases for my research, which has resulted in a political play, The Return of Nkrumah. The experimentation reveals the “form” in which the subject matter (politics) is treated with emphasis on the dramatic picture of the artwork. It explores the use of crafty political imagery in drama without sacrificing its content for its form. Though, the vocabulary of most Ghanaian plays in general is blunt in their social outlook, with political plays in particular, the same cannot be said. Owing to the preoccupation of the dramatists who pushes the frontiers of Ghanaian theatre, most Ghanaian plays come across as social dramas aimed at searching for an authentic Ghanaian theatre and\or building a traditional narrative drama, which perhaps, constitutes Ghana’s major contribution to the development of theatre in Africa. Considering the works of some notable Ghanaian dramatists such 1 University of Ghana http://ugspace.ug.edu.gh as Efua Sutherland’s The Marriage of Anasewa, Yaw Asare’s Ananse in the Land of Idiots, Ben Abdallah’s The Land of Many Magicians, Ama Ata Aidoo’s Anowa, among others, as social dramas, then their vocabulary is clear and precise. Nevertheless, in applying the critical mind, by de-coding the political undertones of these plays then they are subtle if measured as Political Dramas. By way of experimenting with vocabulary and its mode of communication, notable playwrights, the world over, have deviated from the norms of their time to explore new ways of writing. For instance, in the history of Western European drama, Bertolt Brecht explored his Alienation Effect by introducing poetry, music and dance, just to mention a few. Samuel Beckett imports circus and film clowns to absurdist theatre. Similarly, Heiner Muller pastiches Hamlet in his Post-modern Hamlet machine. In the African context, Wole Soyinka on one hand interweaves the African ritual and the western fourth wall realism in Death and the King Horseman. He focuses on the figurative thought expressed in the African dialect, enriching his dialogues with Yoruba sayings and riddles which he translated into the English expressions. Ama Ata Aidoo on the other hand is noted for her poetic preludes and direct transliteration of the Akan language into English. Efua Sutherland, Mohammed Ben Abdallah, Yaw Asare, Ama Ata Aidoo among others, incorporated the Ghanaian oral folklore form into the literary narrative drama, hence Sutherland’s “Anansegoro”, Abdallah’s “Abibigoro” and the most recent theatre of symbols by Daniel Appiah-Adjei. These attempts and many others have resulted in a number of experimental phases in the history of playwriting the world over. The experiments carried out by playwrights as the years go by have contributed immensely to the development of theatre from ancient Egypt until date. Some of these experimental phases include realism, 2 University of Ghana http://ugspace.ug.edu.gh naturalism, absurdism, and Avant-garde plays created by means of language among other dramatic elements to educate and entertain the public. The experimental play, The Return of Nkrumah, explores a political vocabulary. The motivation to write a play about politics and nation governing stems from the need to criticise, create awareness, and make statements to ignite thoughts for a debate on the political issues seemingly taken for granted. This thesis discusses the possibility of using a play to expose certain odds, such as corruption, in the political structure. It attempts to draw people’s attention to these sensitive but seemingly ignored political issues. 1.2 Explanation of Concepts 1.2.1 Vocabulary Comparing the dictionary definition of a number of publishers such as, the Merriam Webster Learner’s Dictionary and the Oxford Learner’s Dictionary the word “vocabulary” could mean, 1) The words that make up a language, 2) all of the words known and used by a person, (3) words that are related to a particular subject and (4) a set of forms or elements that are used for expression in an art, in music, etc. Example a rich musical vocabulary, architectural vocabulary [emphasis mine]. In this thesis, I shall apply the word “vocabulary” to a range of artistic or stylistic forms, techniques or movements, which is in agreement with the fourth level of meaning applied to the word by the Webster Dictionary as stated above. The vocabulary of a play or drama therefore includes a holistic view of the forms or elements that make up the dramatic piece. The message the drama communicates is key in defining its vocabulary. It combines (1) all the elements of the dramatic genre, as such, characters, 3 University of Ghana http://ugspace.ug.edu.gh plot structure, setting, dialogue, symbolism, etc. on one hand and (2) the artistic or stylistic form of writing that defines the dramatist on the other hand. The vocabulary of the drama therefore as discussed in this thesis, does not necessarily make use of words but focuses on the idea, story or thought that the drama projects through its aesthetic expressions. This artistic expression considers the style of presentation, theme, symbols, characters, plot structure, setting, dialogue and form as one integrated unit in the communication process. Narrowing the discussion down to the vocabulary of political drama, this thesis suggests that the range of artistic or stylistic forms used in the aesthetic expression should be precise, radical and uncompromisingly forthright if the aim of that drama is to be efficacious and dialectical in igniting societal change. 1.2.2 Political Throughout this work, the word “political” is used in connection with the state, government or public affairs. Accordingly, a political drama is a drama with the subject matter centred on the state, government and public affairs. Hence, a political play as referred to in this thesis does not include plays about Female Genital Mutilation aimed at societal transformation. To draw a firmer conclusion on what can or cannot be a political play, as used in this thesis, it will be of interest to observe some plays classified as such. You Fool How Can The Sky fall? (2002) by Zakes Mda, portrays the level of corruption in South Africa, and as Mda describes it, the filthy nature of its political structure, by comparing the South African political administration with a dirty stinking cell. Mda, depicts the implication of the corrupt attitude of the politicians by creating dirty and smelly wounds on their bodies. He ridicules the virtual decoration of towns and communities 4 University of Ghana http://ugspace.ug.edu.gh toward the singular visit of a top official by mounting sets with explicit architecture by the roadside with painted faces of smiling people to depict a high economic stability. In Medicine for Love (1964), James Ene Henshaw depicts the deceptive and cunning glimpse of Ekunyah, a typical Nigerian politician in his hypocritical and opportunistic participation in religious activities. The Chattering and the Song (1977), by Femi Osofisan, demonstrates a critique of Nigerian social formation through a group of highly individualized intellectuals. According to Etherton (1982), Osofisan, portrays “a movement in society towards revolution, as well as the attempts by the established order in society to contain and neutralize this revolutionary tendency”1. Furthermore, Once upon Four Robbers (1991) by Femi Osofisan, equates the “wayside” armed robbery with the “organizational” and “governmental” robbers, questioning the brutality and violent punishments associated with the former but not the latter. Other examples of political plays include Sizwe Banzi is Dead (1976) by Athol Fugard, John Kani and Winston Ntshona on one hand, and Woza Albert! (1983) by Percy Mtwa, Mbongeni Ngema and Barney Simon on the other hand. Both plays discuss the segregation issues of South Africa. Similarly, Wole Soyinka is a stern and unrelenting critic of his country. In both his Madmen and Specialists (1971) and A Dance of the Forest (1963), Soyinka addresses the Nigerian political system and portrays the common person as mercilessly being exploited by tyrants, bureaucrats and opportunistic politicians. What makes these plays political and different from others is the writer’s crafty use of issues connected with the state, government or public affairs with their seriously intended social criticism with the hope to transform 1 Etherton, M. (1982). The Development of African Drama. South Africa: Hutchinson Group (SA) (Pty) Ltd. p 265. 5 University of Ghana http://ugspace.ug.edu.gh the society. Drawing inspiration from the arguments stated above, this thesis therefore describes a political play as one that discuss in its subject matter topical, sensitive and controversial issues within the political, governance and economic structure of a community either by ridiculing it or presenting the issue such that it influences peoples decision, provokes their thought and incites them to take an action. The plot of the story must unfold in such a way that the average person easily identifies the political subject matter. Some of the dialogue may be metaphorical; situations may be figurative, such as the stinging cells of Mda, symbols may be employed but the fact that the story is about the political government and the economic structure must be clear to the average person. In other words, members of the community must easily identify situations, characters and issues raised in the play. 1.2.3 Blunt Vocabulary The term blunt in itself connotes something radical and uncompromisingly forthright. In the world of theatre, the term “blunt” is associated with political, change, action, self-indulgent, efficacious, dialectical, and avant-garde. However, this thesis shall apply the term to drama as described by Murdock (1980). According to him, a blunt or radical drama is a type of drama that “sets out to present a critical perspective on the present social order. It aims to lay bare [emphasis mine] the structures of power and privilege and to show how they permeate everyday life, limiting and curtailing opportunities for self-realization and social change”2. This theatre critique, according to Murdock (1980) is developed in two different ways. The first “focuses on the uglier faces of capitalism and the crimes of the powerful” and the second “presents a view 2 Murdock, G. (1980). Radical Drama, Radical Theatre. Academic Press Inc. Limited: London 6 University of Ghana http://ugspace.ug.edu.gh from below by recovering working class experience and articulating the lived experience of domination.” The aim is to link personal experience and political process and to uncover the social and institutional sources of individual misery. Agreeing with Murdock (1980), this thesis describes a drama with a blunt vocabulary as one that lays bare the structures of power, focuses on the uglier faces of both capitalism and socialism, exposes the crimes of the powerful, links personal experience with political process and uncovers the social and institutional sources of individual misery. 1.3 Problem Statement Many theatrical experiments have been carried out in Ghana, ranging from the “form” and “content” of a play to the language use. Writers have sought many artistic ways of presenting their plays. However, not too many Ghanaian playwrights have explored a political subject that communicates in a blunt vocabulary. My use of the word “blunt” here connotes the radical use of sensitive political events. The vocabulary of most Ghanaian political plays have been metaphorically treated in such a way that its political undertone is lost to the average audience except for theatre critics who might speculate about their political trace. As mentioned earlier, the icons that link one dramatic genre to the other is the vocabulary. Therefore, if the expression of the play does not clearly speak a political language, then it is likely to get its recognition as a political play obscured. This brings to mind Jesus’s saying that when salt loses its taste, it is thrown out and trampled underfoot. After a close look at this Ghanaian situation, one could say, that the subject of politics is not a vibrant area of consideration by most Ghanaian playwrights. Whiles their counterpart, such as Femi Osofisan, ZakesMda, Tsegaye Gabre-Medhin, Ngugiwa Thiong’o, Athol Fugard 7 University of Ghana http://ugspace.ug.edu.gh among others, clearly communicate in a vocabulary that sternly and unrelentingly critique their countries, the same cannot be said of Ghanaian playwrights. Meanwhile, fundamental to the various experiments in the history of Ghanaian dramaturgy is the hope that a section of Ghanaian play-texts would emerge in which issues of national significance would be treated. Great importance has been attached to documenting the oral tradition and social issues such as marriage, chieftaincy, history, myth, the metaphysical, witchcraft among others. Yet, it seems very few on neo-colonialism and its malcontents; corruption among government officials and unfavourable government policies have been documented. Despite the potential contribution that political plays have on the economic development of Ghana, it seems the issue of governance and corruption have been neglected. 1.4 Objectives of the Study The general objective for the research is to create a drama that has an artistic and didactic quality whiles satisfying contemporary taste. The specific objectives are;  To write a play with a clear, precise and blunt political vocabulary.  To use events and occurrences in Ghana’s political scene as source material for creating a play. 1.5 Research Questions  To what extent can thoughtful and sympathetic political events be used as source material for playwriting?  To what extent can dramatists be blunt but not vulgar in portraying political incongruities of Ghana? 8 University of Ghana http://ugspace.ug.edu.gh 1.6 Significance of the Study It is important to present sensitive political issues in a clear vocabulary because it provokes the mind of its audience to reflect on the issues presented, in order to promote important decisions and discussions to be held on the matter. If it is subtle, it can easily pass unnoticed. The sensitive political issues that this thesis discusses are binding on the lives of the people of Ghana. It is for this reason that artists dwell on politics in their creative work to draw attention to it. Nevertheless, what is the point if the aim is to draw attention to it and still a shroud is put on it? In as much as it is recognized that plain language can be vulgar, for which reason Ghanaians have a rich language of proverbs, riddles and idioms, it is also important for these vital issues to be put in a manner that will provoke everybody who confronts them to think critically about them. My experiment is to balance this bluntness and art. It is acknowledged that a certain level of bluntness can be banal or vulgar; therefore, the aim is to dwell on the other elements of drama such as the characters, setting, symbols, plot structure etc. to express this uncompromising dramatic vocabulary but also make it aesthetically appealing. Currently the norm is to put these thoughtful and sympathetic political issues in a play but keep them shrouded. If indeed politics and governance are of this grave importance, then it is crucial that as many people as possible reflect on them for important decision-making. Furthermore, The Return of Nkrumah will serve as a documentation of some political historical events. It will also create a reference library for Ghanaians and anyone interested in studying the vocabulary of a play. Ultimately, this study will document aspects of the Ghanaian political platform with the aim of making it available for comprehension. It is expected that the study would contribute to the broadening of source material for playwriting as well. 9 University of Ghana http://ugspace.ug.edu.gh 1.7 Scope of Study The Return of Nkrumah limits itself to partisan politics in Ghana whiles experimenting with the vocabulary. The focus is on the style of presentation, the artistic imagery, mood and tone of the play. By viewing these devices as one integrated unit, the thesis discusses how the message in a political play can be said frankly without being offensive. The Return of Nkrumah also explores the rhythm in language, rhythm in the unfolding of events and rhythm in music, that is, the relationship between the songs employed to the events in the play. The play restricts its scope to a satirical drama making use of the Ghanaian political situation as bedrock. The Return of Nkrumah is set in Ghana, where migration, education and modernization have made it possible for people of different ethnic groups and tribes to co-exist in a city, town or village. The main study area is from the regime of Osagyefo Dr. Kwame Nkrumah to the government of Prof. John Evans Atta Mills. Though there are equally pertinent subject matters that demand urgent attention, the content of the play limits itself to corruption, proposing a total change of individual mind set as the first step to behavioural change. The focus is on the late Dr. Kwame Nkrumah as he makes a journey from the metaphysical world to the present day Ghana. The dissertation is, however, limited by time constrains which inhibits the study from conducting a comparative assessment of the statistical impact of the study on its audience. 1.8 Organisation of Study The thesis is divided into six chapters; this chapter and five others. Chapter 2 focuses on the theoretical framework and literature review. The literature will look at the level of involvement of Ghanaian dramatists in the treatment of political subject matter, the vocabulary of drama and the structure of some political plays. Chapter 3 examines the methodology and the study design for the research. Chapter 4 primarily contains 10 University of Ghana http://ugspace.ug.edu.gh presentation of the formal analysis, deconstruction and contextualization of the play, and chapter five presents a summary of findings, conclusion and recommendations. The thesis play, The Return of Nkrumah will be in chapter six. 11 University of Ghana http://ugspace.ug.edu.gh CHAPTER TWO 2.0 LITERATURE REVIEW 2.1 Introduction This chapter reviews relevant literature available on the vocabulary of drama and its relationship with a politically driven play-text. It observes the interplay between the stylistic form and the content of the play. The presentation is selective with topics customized based on its relevance to the study area. The specific topics treated are Political Drama, The Vocabulary of Political Drama and The Vocabulary of some Ghanaian Political Play Texts 2.2 Political Drama Political drama in the narrow sense of the term refers to plays about the state or government, which do not hide their political stance. In the history of theatre, Betolt Brecht is a notable dramatist in the development of political drama. Using his epic theatre as a bedrock to the discussion on the structural vocabulary of the political drama, it is observable that the epic theatre is a modern avant-garde that revolts against the main stream modern theatre in which Brecht openly declares that theatre should be ‘political’. Obviously, Brecht’s use of the word ‘political’ here relates to something about government, rule of law, social and/or economic structures. In the radical sense of the word, it is observed that political drama sets out to present a critical perspective on the present social order. It aims to lay bare the structures of power and privilege and to show how they permeate everyday life. Generally, it is observed that political dramas can be re-classified into two main groups; first is the propaganda theatre and the second agitation theatre. Hubner (1992) explains that, “propaganda theatre embellishes 12 University of Ghana http://ugspace.ug.edu.gh reality; agitation wants to change it”3. Based on this, Basiku (2004) states that Brecht’s was agitation theatre. On the same subject, Szanto (1978) categorizes theatre’s propaganda into three. The first is agitation propaganda, which is the most subversive of all three and has a stamp of opposition. This type of theatre propaganda as explained by Szanto is usually led by a party seeking to destroy government. Szanto explains that socialist realism falls under this category. The second type of theatre propaganda is integration propaganda. It is a “self-producing propaganda that seeks to obtain stable behaviour, to adapt the individual in the society and to reshape his thoughts and behaviour in terms of permanent social setting.”4 The third and the most difficult type of theatre propaganda to create, according to Szanto, is that of Brecht. He defines that kind of theatre as one “which attempts to demystify, by depicting separately, interactively and always clearly, the basic elements which comprises a confused social or historical situation. This is the science of dialectic materialism…, brought to dramatic presentation”5. Critically analysing Basuki’s (2004) account of Brecht’s epic theatre, the development of the “self” is influenced by social, political, cultural and economic structures of the society. Therefore in ensuring “behavioural change” in humans, one needs “more than just the psychological analysis”. According to Basuki, Brecht proposes that, a transformation of psychological ‘conflict’ into historical condition in the theatre is the only way to liberate the “self” from the oppressing structures. 3 Hubner, Z. 1992. Theatre & Politics. Ed. and trans. Jadwiga Kosicka. Evaston, Illinois: Northwestern University Press. 4 Szanto, G. H. 1978. Theatre & propaganda. Austin: University of Texas Press 5 Szanto, G. H. 1978. Theatre & propaganda. Austin: University of Texas Press 13 University of Ghana http://ugspace.ug.edu.gh To really understand the historical condition and to realize that a person is formed by the value s/he has adopted unconsciously a critical mind is needed. Therefore, neither the actor nor the spectator should be drawn into “simple empathy”6 Based on this, Brecht proposes that, to liberate the ‘self’ from the psychological ‘conflict’ into the historical condition, then the “theatre should provide a process of alienation: the alienation that is necessary to all understanding”7. Focusing on the content of epic theatre in creating a political theatre that serves as the “classroom, x-ray room or laboratory full of opportunity for educating, re-orienting and awakening the audience to the realities of their society”8, then the dramatist, according to Brecht, must aim at arousing the audience capacity for action, bringing him to a point of recognition and forcing him to take a decision. To achieve this, Brecht advises that, neither the audience nor the spectator must be drawn into a state of empathy, hence his alienation effect. Brecht, therefore, uses other interdisciplinary forms of the theatre; poetry, music and dance to achieve this aim of alienation. Basiku notes that Brecht, as we all know used poetry (emphasis mine), song, music, even dance in his epic theatre. He used them in a different way…for example, is not to heighten, proclaim, and illustrate the text but to set forth the text9 6 Basuki R. (2004), Brecht’s Epic Theatre as a Modern Avant-Garde and its Influence on Postmodern Theatre/Drama, http://www.kata.petra.ac.id/index.php/ing/article/download/15490/15482 , 20/01/2012, GMT 16:16, Pg 141 7 Brecht in Basuki R. (2004), Brecht’s Epic Theatre as a Modern Avant-Garde and its Influence on Postmodern Theatre/Drama, http://www.kata.petra.ac.id/index.php/ing/article/download/15490/15482 , 20/01/2012, GMT 16:16, Pg 145 8 Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan—Nigeria, Pg 54 9 Basuki R. (2004), Brecht’s Epic Theatre as a Modern Avant-Garde and its Influence on Postmodern Theatre/Drama, http://www.kata.petra.ac.id/index.php/ing/article/download/15490/15482 , 20/01/2012, GMT 16:16, Pg 146 14 University of Ghana http://ugspace.ug.edu.gh Meanwhile, Raymond Gibbs (1994) asserts that, “contemporary political discourse is packed full of metaphors (poetry), many of which reveal important aspects of the figurative nature of political thought”10. This revelation draws attention to the relationship that exists between political plays and the use of poetic language; metaphor, simile etc. Like Gibbs, many other writers including Femi Osofisan, Uko Atai, Irena Slawinska, Wanda Rulewoiz, Haruna Okada, among others relate poetic language to politics. Rulewoiz (1973) in discussing the structural phenomenon of poetic drama also asserts that “poetic drama is to touch the problems which are universal for any human being. The problems of existence and of eternal laws governing world and history”11. This sparks off an observation process, noticing that many dramatists who venture into political subjects do so using poetic elements such as metaphor, similes, paradox, alliteration, allusions, etc., either to obscure the message, heighten, proclaim, and illustrate the text, create specific theatrical situation and character, achieve a level of aesthetic satisfaction, or like Brecht, to create a certain level of alienation effect. This baffles the mind on how a political theatre that comments on issues about the state or government without hiding its political stance can unfold, using metaphor and other poetic elements when poetry itself is noted for obscurity. Before dealing with this controversy, Akanji Nasiru (1993) observes that for a dramatist to be effective in his society, then he must be the people’s teacher, to produce works that are socially relevant, and to interpret the historical, sociological, political, economic and cultural 10 Gibbs R. W Jr. (1994), The Poetics of Mind, Figurative thought, language, and understanding, Cambridge University Press, Cambridge, Pg 140 11 Rulewioz W.(1973), Some Modern Theories of Poetic Drama, http://www.ifa.amu.edu.pl/sap/files/5/15_rulewioz.pdf, 04/12/2013, GMT 15:41, Pg 167. 15 University of Ghana http://ugspace.ug.edu.gh issues of his time. Agreeing with Nasiru, it seems to me that generally, writers and politics in Africa have enjoyed some sort of a symbiotic relationship, not only because African writers, according to Gbilekaa (1993), “incorporate political themes in their creative works but mainly that the writer and the politician are all rolled into one”12. Perhaps, it is the “duality of this existence”, as speculated by Gbilekaa, is the reason Achebe in 1969 noted that, ... an African creative writer who tries to avoid the big social and political issues of the contemporary Africa will end up being completely irrelevant like that absurd man in the proverb who leaves his house burning to pursue a rat fleeing from the flame13 Observing things from Achebe’s point of view, the most pressing issue or subject matter for an African dramatist to address is the political situation of his or her country. Anything less is like chasing the “rat fleeing from the flames” of his/her burning house. This brings to mind the earlier argument on (1) how a political theatre that does not hope to make vague its political stance can unfold using metaphor and other poetic elements and (2) the committed writer who cannot afford obscurity. The cause of disagreement here is how a political play can maintain its political stance and at the same time use poetic devices when poetry itself is noted to be figurative and in more instances than not, shrouds its message in complicated ideas. The answer may be buried in the play text of some political plays. In the subsequent topic, I shall attempt to unveil the answer to this controversy by discussing the vocabulary of political drama, alluding to some notable political plays. My focus will be on (1) how the various elements of 12 Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria, Pg 43 13 Achebe in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria, Pg 43 16 University of Ghana http://ugspace.ug.edu.gh the dramatic piece project a political thought and (2) how poetic devices have been used without shrouding the message. 2.3 The Vocabulary Of Political Drama Political drama like any other drama has various elements and to understand its vocabulary calls for a systematic analysis of the various components that make up the dramatic piece. These elements include characters, plot structure, setting, dialogue, symbolism, etc. The aim is that, if the drama is meant to be political, then this relatively important political theme should be made precise, clear and detailed to the average audience. To achieve this, the theme of politics should be treated in the dialogue, characterization, plot structure, setting, symbolism and the story itself. In addition to this, the dramatists own artistic or stylistic form of writing should reflect a political thought. Establishing a clear and blatant vocabulary in political plays is imperative because, literature and drama in particular, according to Yetunde Akorede (1993), “is one of the most viable weapons for the critical, objective, and result oriented analysis of a nation crying for re-birth.”14 Nations crying out for rebirth are characterized by political, economic, social and religious crises and to address these crises the dramatist ought to present his/her issue in such a way that it is clear to the average audience for an important decision to be made on the subject. If Akorede’s assertion is credible, then in a society where the political, cultural, social and economic structures are loose to corruption and other political decadents, art, according to Ernst Fischer (in Szanto, 1978, p176) must also reflect decay, if that art hopes to be truthful. He explains that, 14 Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan—Nigeria, Pg 54 17 University of Ghana http://ugspace.ug.edu.gh “unless it wants to break faith with social function, art must show the world as changeable and help change it”15. This suggests that, for theatre to address the problems of society as Akorede (1993) posits, the dramatist needs to fashion his art as an instrument of change, give praise where needed and criticize without fear when the need arises. In a play, practically the entire story is carried out on the shoulders of the dialogue. The dialogue provides that medium through which characters interact with each other. Through the dialogue, the political statements, witty exchanges, veiled threats, and passionate declarations are established in a drama. It is observed that most dramatists make thoughtful and profound political statements in their plays, which contributes immensely to the play’s vocabulary. In Andrew Whaley’s The Rise and Shine of Comrade Fiasco (1991), Micheal Billington (2015) notes that “…the youngest prisoner, an ex-guerrilla fighter, delivers a haunting speech detailing the petty humiliations and pointless bureaucracy that are a by-product of the long-cherished freedom”16. He presumes that this is a deliberate irony established by Whaley, considering the fact that the play is set in the year before Robert Mugabe became head of state. In Death and the King’s Horseman (2002), Wole Soyinka, makes direct and blunt political statements, which according to Eugene McNulty (2011) creates “an intriguing moment of intertextuality that connects the narrative of brutality in a troubled 15 Fischer in Szanto G. H.(1978), Threatre & Propaganda, University of Texas Press, Austin p 176 16 Billington M, (2015), The Rise and Shine of Comrade Fiasco Review-fear and loathing in Zimbabwean prison, http://www.theguardian.com/stage/2015/mar/03/the-rise-and-shine-of- comrade-fiasco-review-gate-london. 7/4/2016, GMT 22:21. 18 University of Ghana http://ugspace.ug.edu.gh postcolonial Nigeria with a central expression of the horrors of European industro- capitalist modernity”17. In the following lines, the PRAISE SINGER condemns ELESIN’s adamant behaviour as the Europeans, which he blatantly refers to as “the evil strangers”, tries to change the course of destiny. Elesin, we placed the reins of the world in your hands yet you watched it plunge over the edge of the bitter precipice. You sat with folded arms while evil strangers tilted the world from its course and crashed it beyond the edge of emptiness—you muttered, there is little one man can do, you left us floundering in a blind future. Your heir has taken the burden on himself. What the end will be, we are not gods to tell. But this young shoot has poured its sap into the parent stalk, and we know this is not the way of life. Our world is tumbling in the void of strangers, Elesin18. According to McNulty, Soyinka himself, in his essay The Fourth Stage “unpacks the underlying intellectual fabric of this issue further, revealing the ways in which the life/death cycle is imagined differently within the Yoruba and European worldviews”19. Soyinka notes that The Yoruba is not, like European man, concerned with the purely conceptual aspects of time; they are too concretely realized in his own life, religion, sensitivity, to be mere tags for explaining the metaphysical order of his world. If we may put the same thing in fleshed-out cognitions, life, present life, contains within it manifestations of the ancestral, the living and the unborn. All are vitally within the intimations and effectiveness of life, beyond mere abstract20 17 McNulty, E. (2011), Before the Law(s): Wole Soyinka’s Death and the King’s Horseman and the Passages of “Bare Life”, St Patrick's College, Dublin City University, http://postcolonial.org/index.php/pct/article/viewFile/1284/1212 8/4/2016, GMT 17:30. 18 Soyinka, W. (2002), Death and the King's Horseman, Norton Press. Pg 218 19 McNulty, E. (2011), Before the Law(s): Wole Soyinka’s Death and the King’s Horseman and the Passages of “Bare Life”, St Patrick's College, Dublin City University, http://postcolonial.org/index.php/pct/article/viewFile/1284/1212 8/4/2016, GMT 17:30. 20 20Soyinka, W. (1976), “The Fourth Stage.” Myth, Literature and the African World. Cambridge: Cambridge UP, Pg 144 19 University of Ghana http://ugspace.ug.edu.gh Apart from stating issues bluntly in a political thought, it is also observed that, some dramatists make use of various figures of speech, such as metaphors, simile, allegories etc. yet do not shroud their political vocabulary. A typical example is in the following lines ELESIN: Who does not seek to be remembered? Memory is Master of Death, the chink In his armour of conceit. I shall leave That which makes my going the sheerest Dream of an afternoon. Should voyagers Not travel light? Let the considerate traveller Shed, of his excessive load, all That may benefit the living.21 IYALOJA: Richly, richly, robe him richly The cloth of honour is alari Sanyan is the band of friendship Boa-skin makes slippers of esteem.22 Though Soyinka makes use of the rich language of poetry in the lines above, it does not shroud the political vocabulary of the play. There is no doubt that Death and the King’s Horseman (1976) is a political drama, recalling some happening in the postcolonial Nigeria. In a review, Rich See (2006) notes that “Wole Soyinka's writing is poetic, intense and requires a great deal of concentration from the audience.”23 More than just the dialogue, the vocabulary of a political drama is also expressed through its characters and their setting. In The Rise and Shine of Comrade Fiasco (1991), Andrew Whaley, establishes the disappointments following Zimbabwe’s 21 Soyinka, W. (1976), “The Fourth Stage.” Myth, Literature and the African World. Cambridge: Cambridge UP, Pg 159 22 Soyinka, W. (1976), “The Fourth Stage.” Myth, Literature and the African World. Cambridge: Cambridge UP, Pg 156 23 See R. (2006) Death and the King's HorsemanReview, A Curtain Up DC Reviewhttp://johnvreeke.com/deathandkingshorseman/ 8/4/2016, GMT 13:20. 20 University of Ghana http://ugspace.ug.edu.gh struggle for freedom. In a review, Micheal Billington (2015) notes that the setting of the play …is a Zimbabwe have been slung in the slammer after a bar-room brawl. Suddenly, their testy cohabitation is shattered by the arrival of Comrade Fiasco, a man who claims to be a former freedom fighter but who has spent the past seven years in a cave, unaware of his country’s transition to post-colonial independence. In an attempt to reconstruct Fiasco’s past, the three prisoners indulge in various forms of role-play and, in the process, reveal their doubts and fears about the present prison cell in 1986. It is occupied by two men and a woman who.24 It is observed that the setting of the play (Zimbabwe) and the characters created (COMRADE FIASCO) together with their life experiences (ex-freedom fighter) blatantly create a mental picture of the political situation of the country at the time. The characters lament about their experiences, doubts and fears of the country’s situation at the time. Billington, notes that Whaley attempts to paint the prison cell as a house of illusions a situation that was prevalent in his days. He speculates that the real “problem is that Fiasco himself is not so much a character as an endlessly shifting symbol: at different times, he represents the lost memories, dreams and ideals of both the prisoners and the nation itself”25. This suggests that though Whaley attempts to symbolically present the lost memories, visions and principles of the nation, he does so bearing in mind the political vocabulary of the play. To project a political vocabulary, it is observed that many writers also use symbols to depict odd situations, paint a mental picture or to criticize certain ideas, laws or 24 Billington M, (2015), The Rise and Shine of Comrade Fiasco Review-fear and loathing in Zimbabwean prison, http://www.theguardian.com/stage/2015/mar/03/the-rise-and-shine-of- comrade-fiasco-review-gate-london. 7/4/2016, GMT 22:21. 25 Billington M, (2015), The Rise and Shine of Comrade Fiasco Review-fear and loathing in Zimbabwean prison, http://www.theguardian.com/stage/2015/mar/03/the-rise-and-shine-of- comrade-fiasco-review-gate-london. 7/4/2016, GMT 22:21. 21 University of Ghana http://ugspace.ug.edu.gh practices. Clement Ajidahun (2012) observes that metaphors play a functional and significant role in Femi Osofisan’s plays. In his paper, he discusses …the centrality of metaphors as a dominant literary device consciously deployed by Femi Osofisan to project the theme of oppression, dehumanization, social injustice and poverty in his plays. The paper focuses on the use of animal and predatory metaphors in Osofisan’s plays to launch an offensive literary attack on the rich and the ruling elite in the society who use their privileged positions to brazenly oppress and brutalize the poor and the downtrodden... Finally, the paper discusses the settings and the titles of Osofisan’s plays, the quest motif and the traditional modes as metaphors for oppression.26 In Once Upon Four Robbers, Femi Osofisan metaphorically uses magic and the plight of the four robbers to criticize the government on the issue of the public execution of armed robbers in Nigeria and the contributory role of the society in fostering the conditions that breed criminality. He also raises the issue of betrayal and corruption among the oppressed. Sola Adeyemi (2011) suggests that, Osofisan advances the argument that it is really everybody who is criminal in intent and act and who therefore needs to be re-membered to a society that is just. He contends that the root cause of the endemic criminality of the people lies in the three symbols of authority and influence in the society –school, church and the home.27 From the analysis presented above, it seems to me that to project the vocabulary of the play as political, demands a clear familiarity of the story, dialogue, plot, symbols etc. with the country’s history as far as its governance is concerned although not all of them are found together in all political dramas. In this case, the language can be metaphorical in certain instances, symbols can be employed, but what is key is that the treatment 26 Ajidahun C.O (2013), Metaphoric Topicality in Femi Osofisan’s Drama, Advances in Literary Study 2013. Vol.1, http://file.scirp.org/pdf/ALS_2013012316471229.pdf 8/4/2016, GMT 13:41 27 Adeyemi, S. (2011),Once Upon Four Robbers: The Magic of Subversion, Mosuro Publishers, Ibadan: 22 University of Ghana http://ugspace.ug.edu.gh relates to something about government, rule of law and the social order. With all the other dramatic elements complimenting each other, the aim of creating a political vocabulary will be achieved as in the case of the dramatists discussed above. 2.4 The Vocabulary of Some Ghanaian Political Play Texts Though the phenomenon of writing political plays as both Akorede (1993) and Fischer (1978) suggested in the earlier discussion, is an observable fact among African dramatists in general, same cannot be said about Ghana in terms of the vocabulary of political plays. In discussing dramaturgy in Ghana, John Djisenu (2002) asserts that, “narrative drama is popular in Ghana and remains the country’s perhaps greatest contribution to world theatrical forms”28. Djisenu’s (2002) position explains Efua Sutherland and Mohammed Ben Abdallah’s experiment on the development of an authentic “form” of theatre in Ghana. His comment focuses on the “form” of Sutherland and Abdallah’s theatre, but one may wonder what the content of these dramatists works are. It seems to me that although, some or most of the plays by both Surtherland and Abdallah are serious political plays, their political vocabularies are shrouded in the narrative genre. Therefore, the severity of their messages is obscured probably to make them enjoyable to the audience. In an interview with Mr Sandy Arkhurst, a veteran theatre artist who worked with Sutherland for many years, he states that the Marriage of Anansewa (1975) by Sutherland presents Ghana’s political position during the government of Dr. Kwame Nkrumah. According to Arkhurst, Sutherland represents Nkrumah with ANANSE who sees his daughter ANANSEWA as a means of exploiting the four kings. This, according to him, is representative of the political 28 Deandrea P. (2002), Fertile Crossings; Metamorphoses of Genre in Anglophone West African Literature, Centro Piemontese di Studi Africani (Palazzo Chiablese, Piazza San Giovanni 2, 10121 Turin, Italy 23 University of Ghana http://ugspace.ug.edu.gh situation during the government of Dr Kwame Nkrumah where the world’s economic philosophies of socialism, capitalism and communism, sought to ‘woo’ the newly independent Ghana into their fold. If Arkhurst’s submission is credible, then President Nkrumah, who is portrayed by the character KWEKU ANANSE, is said to have used the position of the newly independent Ghana as a means of attracting and exploring opportunities from the potential “suitors”. Until date, arguments are still being generated from different spheres of academia about the validity of the political undertone to The Marriage of Anansewa (1975). This is probably because, if indeed Sutherland’s aim is to juxtapose Nkrumah’s actions with ANANSE’s as Arkhurst suggests, then her dramatic vocabulary does not come across as such. Applying my critical mind in the deconstruction of Mohammed Ben Abdallah’s Land of a Million Magicians (1993), it seems to me that if Abdallah’s aim is to write a political drama, then his vocabulary is quite commendable. In the play, he represents Ghana as Niiman community, where three priests who bring good fortune in the form of aids and grants represent the powers of the world. Within this Niiman community (Ghana) are leaders like ASANA who sympathizes with the citizens such that they make, health care free, free transport, food, clothes and so on, but fail in their leadership because of the greedy nature of citizens who misuse these free facilities because they belongs to government. There are also the likes of FUSENI, who brings sanity into the political structure but are disliked by many because of their strict measures to ensure development. Even though I am unable to liken ASANA and FUSENI to specific political figures, it seems to me that Abdallah’s focus is on Ghana and its political terrain. If my assumption is credible, then the vocabulary of Abdallah’s play is clearly and precisely political. 24 University of Ghana http://ugspace.ug.edu.gh Like Sutherland, other Ghanaian dramatists have obscured the political messages in their dramatic works. Among these is Daniel Appiah-Adjei. In an interview, Appiah- Adjei confirms to me that in The Tears of Lucifer (unpublished), he represents Ghana with an anthill. Sitting on this anthill is Lucifer, representing a certain President of Ghana, and soldiers inside this anthill (Ghana) who instead of protecting the citizens rather expose them to danger. Though, Appiah-Adjei explains that his aim is to reveal the nature of the political tyrants who rule the nation, it seems difficult for me to comprehend which president he refers to. Neither the play’s dialogue nor its dramatic elements come across to me as political. Also, in his Atobra, Appiah-Adjei comments on the foreign aids and their unfavourable conditions to its beneficiaries. Though he states bluntly in his dialogue, as ATOBRA tells AGATHA that donors give grants and put heavy sanctions on the shoulders of the recipients, he reduces this sensitive political issue to the story of a brilliant young man, who receives sponsorship from his community to attend school with conditions that he will help the community develop after school. To him, the help from the local community represents the foreign aid. It seems to me that the political thought is only considered in some part of the dialogue. All the other dramatic elements, such as setting, story, characterization and plot does not project a political thought. However, Osanyin (1983) as cited by Akorede (1993) suggests that, “…No committed writer can afford obscurity”29. Akorede describes a committed writer to be one who dramatizes effectively the “prevailing situation in his society and the class struggle within the class structure”. Osanyin also explains that, the medium through which such 29 Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan—Nigeria, Pg 54 25 University of Ghana http://ugspace.ug.edu.gh a committed drama as Akorede described, can exist is through Epic Theatre and its alienation effects. Unlike the African contemporaries of the Ghanaian dramatists, the voices of most dramatists concerning politics are seemingly neither clear nor precise in their creative works. A number of Ghanaian plays when reviewed can be linked to politics, but averagely their vocabulary expresses otherwise. Comparing these Ghanaian playwrights discussed earlier to their African contemporaries, Athol Fugard is noted for his sharp and incisive critique of racial politics. In his Valley Song (1997), Fugard, takes a more emotional perspective on the problems of national identity in the new South Africa. This is after the traumatic experiences of apartheid and their implication in common attitudes toward the nation. Structurally, Tsegay Gabre-Medhin, in his Collision of Altars (2002) comments on certain events in the history of the sixth century Ethiopian kingdom of Axum, which was regarded as the third greatest power and its gradual fall to the pressures of religious and political warfare. In Zakes Mda’s You fool how can the sky fall (2002), it is clear that Mda draws on the political history of the South Africans but recapturing it in an artistic and theatrical way. By setting the play in a stinking cell where cabinet ministers with wounds all over their bodies, are seated having a serious political debate, Mda refers to the politically stinking nature of the country at the time. He metaphorically uses the wounds on the bodies of the President and the Ministers to describe the filthy nature of African politics. The wound on the naked bodies of the Daughters of Revolution represents the effect of colonialism, oppression and poverty. The fact that the wounds are not healed establishes the existence of oppression even after independence. This theme is present in virtually all his works. Politically, Soyinka’s Death and the Kings Horseman (2004), 26 University of Ghana http://ugspace.ug.edu.gh points to an intense episode from Nigeria’s colonial period, in which a British District Officer intervened to stop the horseman of a dead Yoruba chief from committing suicide, as tradition requires. There is no doubt that Soyinka as a dramatist draws his inspiration from the cultural, social, political and economic situations of his society. Michael Etherton (2007) notes that Soyinka is …one of the sternest and most unrelenting critics of his country…His satire and parody are directed against society itself and its power structures. His criticism is bound up with his metaphysics…30 Soyinka, according to Akorede (1993), dramatizes the “plight of the new nation”31 in his A Dance of the Forests (1963). In addition, he enacts the “influence of the Nigerian civil war on the society and on the individual”32 in his Madmen and Specialists (1971). Still reflecting on the theatre as a corner stone of nation building, Woza Albert! (1983) by Percy Mtwa, el ta, is a political satire that imagines the second coming of Christ in apartheid-ridden South Africa. The theme of politics and racism, which is portrayed by the dramatists, is a situation that the South African community was challenged with for a very long time. Also, Femi Osofisan condemns the bar beach slaughter of robbers as a measure to curb the intractable menace of armed robbery in Nigerian, a situation that was obviously socially relevant at the time Osofisan wrote his Once Upon Four Robbers (1991). Akorede (1993) asserts that, “Osofisan uses the medium of drama to 30 Etherton E., (2007), The Development of African Drama, Hutchinson &Co. (Publishers) Ltd, London. Pg 242 31 Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria. Pg. 53 32 Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria. Pg. 53 27 University of Ghana http://ugspace.ug.edu.gh suggest that the government should rather study the disparity in the societal make up so as to discover what is responsible for this social problem”33. Other plays by African dramatists that are used as social and ideological weapon to fight against unfavourable governmental policies and other socio-political issues include, Cont Mlanga’s (1992) Workshop Negative, Ola Rotimi’s (1988) Hopes of the Living Dead, Andrew Whaley’s (1991) The Rise and Shine of Comrade Fiasco among others. This, however, does not suggest that Ghanaian dramatists have not been instrumental in the development of theatre. Sutherland, being one of the influential figures in the development of the Ghanaian theatre and founder of Ghana’s most notable experimental theatre groups, has attracted a number of playwrights especially the generation after her to follow her trend of writing and build upon the “Anansegoro” concept. Typical example of such writers within the “Anansegoro” circle include, Yaw Asare with his Ananse in the land of Idiots (2006), Asiedu Yirenkyi and his Dasebre (1999), Martin Owusu with his The Story Ananse Told (1999), The Mightier Sword (1973) and The Legend of Akusika (1999) , among others. 2.5 Conclusion Critically analysing some political dramas in the earlier discussions, it is noted that metaphors are used in three different ways; (1) a style of verbal expression (2) presenting the whole story as a metaphor and (3) metaphorically presenting specific objects, situation, set or character. Among these three, the second and third type 33 Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria. Pg 54 28 University of Ghana http://ugspace.ug.edu.gh connect to each other. Whereas, the second treats the political theme in a story that does not allude to anything in the governance of the nation, the third clearly depicts governance but only complements the story by metaphorically presenting some objects. In most cases, the metaphors give the dramatist a firmer voice. Factoring this metaphorical analysis into dramatic works will help draw a firmer line between the second and third type. Comparing Yaw Asare’s Ananse in the land of Idiots (2006), to Cont Mlanga’s Workshop Negative (1992) both plays comment on the invasion of foreigners in the respective countries of the dramatists, and how these foreigners deceive both the leaders and citizens and take away their resources leaving the citizens in pitiful situation. In treating this subject matter, it is clear that Cont Mlanga expresses displeasure at the turn of events in independent Zimbabwe, where the foreigners own the big companies and employ the indigenes as their work force to aid production. Yaw Asare on the other hand, clearly uses the character “ANANSE” to represent foreigners who employ various tricks to seize the resources of the indigenes. Whiles both Yaw Asare and Cont Mlanga make use of metaphors, the treatment is different. The whole message or subject matter in Yaw Asare’s play is metaphorically buried in Ananse’s story such that it is easily over looked and the story only considered as one of Ananse’s trickster tales to the uncritical mind. On the other end, Cont Mlanga is clear about Zimbabwe but only likens it to a Workshop. Whilst Yaw Asare metaphorically treats the subject matter, Cont Mlanga metaphorically presents objects and or situation, with the story still blunt and direct with its political vocabulary. From this analysis, it is observable that Cont Mlanga’s use of metaphors does not shroud his political vocabulary. 29 University of Ghana http://ugspace.ug.edu.gh As a style of verbal expression, the metaphor magnifies emotions and beautifies the language. Osofisan explains that, in writing a political play, the dramatist must be tactical in the use of language so as not to attract the wrath of the people in whose hand political power is. This suggests that, in attempting to address postcolonial political issues in their work, many dramatists come into conflict with their government especially during the days of autocratic military rule. Osofisan affirms this in his Insidious Treason; stating that, “[b]ut by surreptitious tactics, the voice of protest…cannot be pressed to the public ear”34. He explains that in the situation of one party state under the “iron grip of military dictatorship” where criticism or protest in whichever form becomes a “gamble with danger”; the artist must look for the most cunning way of presenting his issues so as not to endanger the lives of himself and his collaborators. 34 34Osofisan Femi, (2001), Insidious Treason, oponifa publishers, Lagos. Pg 50 30 University of Ghana http://ugspace.ug.edu.gh CHAPTER THREE 3.0 METHODOLOGY 3.1 Introduction This chapter is in two sections. The first section describes the field data collection techniques, study design and sampling strategies of the main thesis whiles, the second section presents a hermeneutic account of the play creation processes. The study is a qualitative involving an inductive analysis of political plays with blunt vocabularies, which results in the creative synthesis of The Return of Nkrumah. This inductive analysis is an immersion in the details and specifics of the vocabulary of drama in general and political plays in particular, to discover important patterns, themes and their interrelationship with the audience. It begins by exploring the vocabulary of political plays, then confirming the level of involvement of Ghanaian dramatists in the creation of radical political plays. The study focuses on the blunt expression in the Ghanaian dramaturgy inspired by the genre of political plays. It also seeks to identify the aesthetic expression of dramatists as they depict the world authentically in its complexity while being self-analytical, politically aware and reflexive in consciousness. For this purpose, a number of political plays in some regions of Africa have been studied, identifying the varying styles of presentation, form, imagery, tone and all other elements that are integrated in the vocabulary of those plays. A number of qualitative research methods were used in collecting data for this study. These include interviews, Focus Group Discussion (FDG) and observations. The variety of strategies was triangulated to strengthen the data. Information was also gathered from written materials on the study, both in the libraries and on the internet. 31 University of Ghana http://ugspace.ug.edu.gh Other background readings included related published and unpublished works, newspapers, online articles and journals. These sources have been very useful, especially in developing the dialogue of the play. A typical example is the poem “Broken Dreams” presented in scene three of the play. This poem was inspired by a collection of newspaper articles titled The Street People by Kwesi Pratt, Jnr., Managing Editor of The Insight, a popular newspaper in Ghana. Both the articles and the conclusions drawn by Kwesi Pratt gave me deeper insights on the rippling effect of corruption on the poor masses of this country. The result is the issues discussed in the thesis play. 3.2 Section One 3.2.1 Field Data Collection Instruments and Procedures As indicated earlier, the research explores the tone of expression of Ghanaian political plays and the extent to which thoughtful and sympathetic topical issues are presented in drama. To this end, it became necessary that I observe and analyse human behaviour, an essential tool for the play creation. By way of data generation, I used an approach that could give me various ways through which information could be derived. For instance, in an attempt to talk to politicians on the subject of corruption, it appeared they were willing to talk on any other thing but corruption. Therefore, an observation and comparative analysis strategy was used to validate the information gathered. Individual experiences and views of the public were sampled in a Focus Group Discussion (FGD). Two groups of people were identified for the FGD. The first group consisted of people who were actively involved in politics and members of a Pan Africanist group called “The Friends of Nkrumah”. The second group was made up of 10 students of drama. By way of generating data, a case was studied by the select group 32 University of Ghana http://ugspace.ug.edu.gh to ascertain their views. The techniques used for the FGD were mainly brainstorming and observation. The case was descriptive and exploratory. The first group, made up of the students of drama, discussed the possibility of bluntly exposing the corrupt attitudes of some political figures in a play without compromising the content of the play for its form. In the same way, the Pan-Africanist group identified some political incongruities and what Nkrumah would do about it if he mysteriously returned to life. Each of the two groups was selected based on their involvement with the subject. Whiles the students of drama were selected with the aim of assessing their diverse views on the presentation of the artistic concept, the Pan-Africanist group was selected to help sample the views on corruption and how Nkrumah as a political figure might solve the situation. In addition to the case study, some individual people were also interviewed. I selected the FGD method because it promotes dialogue, sharing of ideas, impressions and views, with an appreciable level of openness. Therefore, not only was information gathered and shared, but also concerns, prospects and challenges of individuals on the rippling effect of corruption on their lives were identified. The discussion also revealed interesting views and suggestions from participants which otherwise would not occur to me. Agreeing with Patton (2002), in an in-depth study, purposeful sampling is used to select information-rich cases35. This implies that the use of purposeful sampling strategy allows an interaction between a researcher and respondents who have useful information on the case. In this situation, the respondents who were members of the Pan-Africanist group had rich information on politics and some of the corrupt strategies used by politician while managing the economy. They identified the meaning of 35 rdPatton, M.C. (2002) Qualitative Research and Evolution Methods (3 ed). Thousand Oaks, CA: Sage Publications 33 University of Ghana http://ugspace.ug.edu.gh corruption and outlined the loopholes in the political structures that aid the acts of corruption. On the other hand, the students of drama, especially those in the field of playwriting contributed immensely to the discussion on the dramatic presentation on the issues gathered. Some of the students suggested that, to help say things more bluntly, the appropriate genre to use is satire, where some of the political figures can be theatrically ridiculed. Specific details are presented next under Focus Group Discussion. 3.2.2 Focus Group Discussion (FGD) As mentioned earlier, two separate Focus Group Discussions (FGD) were held. The first involved some playwriting and directing students of the School of Performing Arts, University of Ghana, Legon. The main topics debated were;  To what end, does most of the intellectually acknowledged Ghanaian dramatics discuss politics and corruption in their dramatic works?  What are some of the possible ways of presenting issues bluntly in a play, without compromising its content of the form? It was an interesting two and half hours of brainstorming. Some of the students shared their views on how the theses play; The Return of Nkrumah should unfold. At the end of the discussion, it was unanimously agreed that, only a limited number of the intellectually acknowledged Ghanaian dramatists have tried writing politically sensitive plays with blunt political vocabularies. It was noted that even in most of those cases, the plays recall certain situations in history, which overshadows the voice of the writer. Majority of the group members suggested that the best way to achieve the aim of presenting issues bluntly is through a satire. 34 University of Ghana http://ugspace.ug.edu.gh On the other hand, the Pan-Africanist Group who call themselves “The Friends of Nkrumah” were instrumental in the generation of data for the play creation. Albie Walls of the International Student’s Program, University of Ghana, led the group. Members present at the FGD meeting numbered 13, comprising seven females and six males. Among the participants were tertiary students and young entrepreneurs. The main topic for the discussion was; If Dr. Kwame Nkrumah miraculously rises from the dead, what do you imagine he would do or say about our present day Ghana and Africa? Two schools of thought emerged from the discussion. The first school believes that, Nkrumah will not survive even for a day. With the present state of Ghana and Africa as a whole, Nkrumah will get a severe cardiac arrest and die the next moment. The second school of thought believes that, Nkrumah will immediately organize a “democratic coup d’état” and overthrow the government. At the end, both schools of thought agreed that it is better for Nkrumah to remain dead. During the FGD, an issue of gender and politics arose resulting in a debate on the topic; Male politicians and female politicians, who between the two categories is more corrupt. At this point, the group obviously split into two with the females on one side and the males on the other side. The females believe that, women politicians are better off than the males and the next “Nkrumah” will definitely be a female but the males believe otherwise. 35 University of Ghana http://ugspace.ug.edu.gh Generally, the Focus Group Discussion was tremendously helpful to the creation of the play. It informed the decision to create the “returned” Nkrumah a man but disguised in female clothes. It also helped decide on which political issue to discuss and which to leave out. While the discussion was on going interesting, phrases and wise sayings delivered by the participants were recorded and some included in the dialogue. A typical example of this was when one of the participants, Enyonam Kumah, who was so emotional about the corruption in the country, said, “...these politicians are so so so greedy, they sell the country’s properties cheaply and then turn around and buy it themselves; they operate foreign bank accounts under ghost names...” This is included in the following lines; OFORI ATTA: (Angrily) yes, we laid the structures, but we were not greedy. We did not offer the country’s properties for sale cheaply, then turn around, and buy them ourselves under different identities. We did not operate Swiss bank accounts under ghost names. We did not look for wealth so much that we could trade cocaine even to the destruction of our own children. We did not demand for huge and unrealistic ex-gratia payments knowing well that it would cripple development, and we did not abuse our subjects knowing well that when they sue us in court, our colleague judges will manipulate the case in our favour, now tell me (to figure Ebenezer) are those the structures we laid? 3.2.3 Interview One An informal interview was held with Madam Samia Nkrumah, daughter of Dr. Kwame Nkrumah, during a socialist forum at the Accra International Conference Centre. The 36 University of Ghana http://ugspace.ug.edu.gh theme for the forum was, “Ghana’s Day of Shame: Nkrumah will triumph”. Due to the crowded atmosphere with interactions coming from all angles, only one question was asked; Question: Madam Samia, what do you think your father would do if he returned to Ghana today? Answer: My father would be very disappointed. Though it was not a planned interview with the response of Madam Samia not addressing the issue of what Nkrumah would do if he returned, I believe it was a step worth taking. Madam Samia’s simple answer affirms certain decisions on how Nkrumah should return and what he should do when he returned. As speculated by Samia, the character Kwame, which represents Dr Kwame Nkrumah in The Return of Nkrumah, arrived from the underworld disappointed and remains disappointed throughout the play. 3.2.4 Interview Two Another informal interview was held with Daniel Appiah-Adjei, a playwright and a lecturer at the Department of Theatre Arts, School of Performing Arts, Legon. During the discussion, Appiah-Adjei noted that both his plays, Tears of Lucifer (2000) and Atobra are political plays. He explained that, in his Tears of Lucifer, he epitomizes Ghana with an anthill and sitting on this anthill is Lucifer, representing a certain President of Ghana, and “soldiers” inside this anthill (Ghana) who instead of protecting the citizens rather exposed them to danger. Appiah-Adjei noted that his aim is to reveal the nature of the political tyrants who rule the nation. When asked why he chose to 37 University of Ghana http://ugspace.ug.edu.gh present such sensitive political issue in the least suspecting matter, Appiah-Adjei could not give any definite answer. In another discussion with Mr. Sandy Arkhurst, a veteran Theatre Artist who worked with Efua Sutherland on different projects, he explained that Efua Sutherland’s The Marriage of Anansewa is representational of the political situation during the government of Dr Kwame Nkrumah, where he uses Ghana’s political position as a means of attracting and exploring opportunities from foreigners. According to Arkhurst, Sutherland justifies Nkrumah’s position by suggesting that accepting gifts from suitors is not a crime. Arkhurst was, however, not in the position to explain why Sutherland would choose to hide such a sensitive political issue in Ananse’s story. He, however, explained that, unlike other African countries whose governments opposed the arts during the colonial periods and the period just after independence, the government of Nkrumah supported it. For that matter instead of identifying the loopholes and commenting on them, most dramatists of the time used their art to support the favourable government policies. 3.3 Section Two 3.3.1 Play Creation Processes This section describes the development of the playwriting method. According to Shelly Frome as cited by Klinger “Formulas for stirring up plays are as powerless as formulas for stirring up love”36. However, regardless of the above assertion, I decided to explore 36 Klinger J., (1993), Methodology for play writing, A dissertation in Fine Arts submitted to the Graduate Faculty of Texas Tech University in partial fulfillment of the requirements for the degree of Doctor of Philosophy (PhD). Approved. 38 University of Ghana http://ugspace.ug.edu.gh the techniques found in Sam Smiley’s Playwrighting: The Structure of Action37, in creating my play. This is because, while working according to the inspiration of the moment, I still needed to rely on classical playwriting canon so that the outcome of the play falls within the benchmark of universal artistic expression. There I came across Joseph Klinger’s PhD dissertation, which explored the methodologies in playwriting. Though he proposed two main writing methodologies, I decided to go with his account of Smiley’s technique, which according to Klinger, stands half way between the intuitive and the methodological, helping me to discover my own working vocabulary. The techniques or processes are arranged as follow, the creative compulsion, the germinal idea, the data collection, rough scenario, scenario, first draft and revision. However, it must be noted that, though I was greatly influenced by Smiley’s work, I also digressed on some of his proposed processes by putting together some steps and neglecting others. 3.3.1.1 Creative Compulsion According to Sam Smiley as cited by Joseph Klinger (1993), the rising creative compulsion is the motivating factor and first step in the creation of a play. Prior to the decision to write the play The Return of Nkrumah, I had been keeping a journal of inspirations and observations with regard to my emotional response to topical political issues. I believe my creative compulsion for undertaking this particular research, for that matter the play, did not just happen unexpected but gradually evolved over time. It started in 2005 when I had the opportunity to be a Voluntary Worker at Radio Univers, University of Ghana. As a newsreader and discussant of the Ewe Programs, I 37 37 Smiley S. (1971), Playwrighting: The Structure of Action, Englewood Cliffs, NJ: Prentice-Hall, Inc. 39 University of Ghana http://ugspace.ug.edu.gh was exposed to many soul touching issues across the country, most of which were geared towards the plight of the common person. This emotional stimulus resurfaced when I did a vacation job with Volta Star Radio, Ho, where I was again tasked not only to read the news but also to participate in the socio-political discussions of Ghana. There, I became privy to Nkrumah’s policies to improve the living conditions of the average Ghanaian. I got inspiration from these experiences to write a play inspired by the life and works of Nkrumah. But the decision was reinforced when I attended a socialist forum at the Accra International Conference Centre in 2011. My attraction to this program was not because I have become a disciple of socialism but rather the theme of the program; “Ghana’s Day of Shame: Nkrumah will triumph”. At the program, the main speaker, Dr. Nazar Gamar, spoke extensively on the achievements of Osagyefo Dr. Kwame Nkrumah, juxtaposing it with the present political regimes. That night, the title of the play, The Return of Nkrumah occurred to me. I asked myself certain questions; how was Nkrumah able to achieve a lot within a short period? What are some of the causes of under development in Ghana? There I changed the direction of my initial story, not to necessarily write about the character of Nkrumah in respect of his achievements but rather to use his persona as the metaphoric conscience of Ghana. In this regard, certain elements like, metaphor and satire, were employed to tell the story of Ghana in a dilemma. 3.3.1.2 Germinal Idea The germinal idea is raw and undeveloped but has the potential of a total drama. It identifies character, place, incident, conceptual thought, situation, or informational area. From the beginning I imagined Nkrumah moving from the underworld where according to Ghanaian cosmological belief, he remains as a dead soul. I then noted the 40 University of Ghana http://ugspace.ug.edu.gh place and the class of people Nkrumah would meet on his return. First on the list was the market place where he would interact with the broad spectrum of the Ghanaian society. 3.3.1.3 The Collection of data The third step in the process is the collection of data, I began reading a lot of books on Nkrumah, some of which were written by him. The books included; I Speak of Freedom (1961); Dark Days in Ghana (1968); Big Men, Small Boys and Politics in Ghana (1995) and The Life and Work of Kwame Nkrumah. I took particular note of his political speeches especially on corruption. On the 26th of September 2011, I visited the Kwame Nkrumah Mausoleum in Accra to observe some objects in history. At the mausoleum, I noticed some of the clothes used by Nkrumah. Judging from the size of the clothes, I pictured Nkrumah as a tick-tall man with projected masculine features. This informed the description of the character Kwame in the thesis play. The Archaeology Department of the University of Ghana was also very helpful. They have documented and filmed some of the traditional settings in Ghana, their cultural beliefs, norms and values. Some of Ghana’s political history has also been filmed. From this research, I started developing a fair idea of the characters, like “Teacher Abotsi”. With such information, it was appropriate to proceed to the next stage of the script development. 3.3.1.4 Rough Scenario Working Title: The Return of Nkrumah Form: Initially, I thought of writing a tragedy that is full of tension and conflict. But after the uncomfortable “wake keeping” on the night of the socialist conference, I 41 University of Ghana http://ugspace.ug.edu.gh decided that instead of creating a tragedy of infused tension, I will create a satire of provocation. Conflict: The main conflict of the play is that the figures of the underworld, led by Kwame Nkrumah agitate for a change of attitude in the lives of the present day generation. This places the antagonist (present generation) in an active role; by revealing the different shades of their human character, mind and actions. Dialogue: Aiming at exploring the subtle vocabulary of a play, most of the lines in The Return of Nkrumah are rendered in dramatic prose, though a marginal level of poetry was used in some instances. The dialogue of the play was not developed in any linear or chronological manner but in what can best be described as spontaneous. Most of the dialoguing was done as I went about my daily chores. Most of the time I had little or no idea about the character that will speak the lines. The poetic lines most especially, were developed at places like in the lavatory, in a bus or whilst conversing with friends. Within the period of developing the dialogue my journal became my memory. However, it is imperative to note that, some of the lines in the play have been taken from books and articles and modified to fit into the context of the play. Examples of such lines are the political speeches in scene 2 and some of Kwame’s lines in that same scene. This was to achieve the aim of staying within the boundaries of naturalism. Nonetheless, developing the dialogue of the play has greatly altered the original story that I had conceived. For instance, it was during the developing of the dialogue that the character ‘Shrew’ was born. Initially, the idea was to give SHREW’s lines to the soothsayer. 42 University of Ghana http://ugspace.ug.edu.gh Schedule: It was my intention to write for three hours a day, six days a week and for three months, but my desire was not met as I was sometimes “choked” by the lack of vocabulary, especially with the developing of the poems. I would rather prefer lines come to me spontaneously. Another challenge that I faced was the lack of my artistic creative muse. Along the line, I observed that the lines that I forced out without the magical possession of my creative muse were raw, banal and lacked the artistic flavour. Since my focus was on language and its use, I did not have the luxury of impulsively generating lines. The lines needed to be thought through and presented in such a way that the aim of the thesis will be achieved. 3.3.1.5 Working outline Prologue: Nkrumah in the land of the dead. He laments at the fast deteriorating state of his country. He pleads to be given the chance to visit his homeland again. Though initially mocked by the spirit of death, he is given the chance to visit. Scene 1: Nkrumah enters a market square where there is an on-going political rally. Scene 2: Nkrumah among the politicians. They talk about the tricks in politics. The politicians are made up of both the capitalists and the socialist (majority and minority respectively as in parliament). Scene 3: Nkrumah works as a secretary at the parliament house Scene 4: The seduction scene. A member of the capitalist party seduces Nkrumah. He later discovers the identity of Nkrumah, threatens to expose him. 43 University of Ghana http://ugspace.ug.edu.gh Scene 5: There is propaganda about Nkrumah. The people (masses) arrest him but as they are about to stone him to death, a soothsayer appears and tells them the identity of Nkrumah. 3.3.1.6 First Draft The writing of the first draft was relatively an easy task as much of the thinking was done earlier. I already had my narrative, the working outline and the scenarios. Character traits and patterns of behaviour had been carefully planned and listed, hence using the materials combined from the steps above; I set out to write the dialogue. I read the work thoroughly, observing the flaws in format, grammar, plot and characterization and the language of the play. 3.3.1.7 Revision Although, Sam Smiley (1971) warns that, "[a] writer should learn to depend on his own judgment alone for a revision critique"38, I revised my play with my supervisor, who helped me to appropriately position the play as an artwork. Together, we discussed the elements, composition, grammar and structure of the play. For instance, initially, I called the character Shrew as Shrewd because of her wisdom and rich language. However, analysing the character of the Shrewd we resolved that the best description that fits the lines and actions of the character in question is Shrew. Furthermore, I added scenes not mapped out in the working outline to further highlight or establish my thought. Finally, I deleted scenes that I later felt were less significant or weak. The 38 Smiley, S. (1971). Playwriting: The Structure of Action. Englewood Cliffs, NJ: Prentice-Hall, Inc. pg 95 44 University of Ghana http://ugspace.ug.edu.gh scenes added include, the two flashback scenes in the prologue, the struggle between Kwame and Teacher Abotsi at the end of scene one, and the play-let nature of scene two. 3.3.1.8 Play Reading A play reading of The Return of Nkrumah was organized on Tuesday April 17, 2012 at the School of Performing Arts, Graduate Seminar Room 1, University of Ghana, Legon at about 7:00pm, though the initial arrangement of venue was the Efua Sutherland Drama Studio. In attendance were lecturers, students and administrative staffs of the Theatre Arts Department. Some first year, final year and graduate students of the Theatre Arts Department did the reading. The cast list is provided in the appendix. Prior to the final play reading, about three weeks of rehearsal was conducted, where the students familiarized themselves with the script; noting cues, pronunciation and characterization. This enhanced their delivery during the actual play reading. After the play reading, a short workshop was organized where together with the lecturers and students, we brainstormed on some of the issues presented in the play. The structure of the plot was critically observed in relation to the topic of the thesis project. Some grammatical and typographical errors were noted. During the discussion it was noted that; 1. The ending of the play dragged due to the long poems delivered by Shrew and the other figures of the underworld. 45 University of Ghana http://ugspace.ug.edu.gh 2. Some historical references like the Peduase lodge and the Kumasi city hotel were out of place. 3. The actions in the play were not clearly spelt out. 4. The use of the word “shit” in the song is out of place, with the reason that the word is too vulgar. With regards to the use of the word “shit”, I explained to the gathering that the word is used strategically to provoke the thoughts of the audience. The other concerns raised were all carefully looked at and re-organized. The outcome of the revision process is The Return of Nkrumah presented in Chapter 6. 3.3.2 Pictures of the Play Reading Figure 3.1 Some lecturers and Students audience during the play reading 46 University of Ghana http://ugspace.ug.edu.gh Figure 3.2 Kwame (Left) and the Market Women Figure 3.3 Characters of the underworld in scene one 47 University of Ghana http://ugspace.ug.edu.gh Figure 3.4 Kwame (in front) and Shrew (back) in Scene one Figure 3.5 Kwame (extreme right), Teacher Abotsi (extreme left) and the Market Women (middle) during rehearsals 48 University of Ghana http://ugspace.ug.edu.gh Figure 3.6 The Market Women singing and dancing after the rally during rehearsals Figure 3.7 Researcher (second from the left) directing some of the actors 49 University of Ghana http://ugspace.ug.edu.gh Figure 3.8 Researcher (extreme left) observing the reading of Scene One Figure 3.9 Actors warning up before the start of rehearsal 50 University of Ghana http://ugspace.ug.edu.gh 3.4 Conclusion Working on the thesis play, The Return of Nkrumah, revealed that, relying on classical playwriting canons can help appropriate the plays of “young” writers or student-artists within the standard benchmark of this expression. In addition to that, it is necessary that dramatists work according to the inspiration of the moment. For an art work to be truthful then it is necessary that the dramatist expresses him/herself freely. The approach used in conducting this thesis involved an inductive analysis of plays with political vocabularies, which resulted in the creation of The Return of Nkrumah. Qualitative research methods were used in collecting data for this study. These include interviews, Focus Group Discussion (FDG) and observations. Individual experiences and views of the public were sampled in a Focus Group Discussion (FGD). Two groups of people were identified for the FGD. Secondary information was also gathered from written materials on the study, both in the libraries and on the internet. Since the study was explorative, a qualitative case study was used to investigate the importance of creating political plays that mirror the Ghanaian political scene without any surreptitious tinges. The motivation to write the play, The Return of Nkrumah, stems from my emotional response to topical political issues. 51 University of Ghana http://ugspace.ug.edu.gh CHAPTER FOUR 4.0 FORMAL ANALYSIS OF THE RETURN OF NKRUMAH 4.1 Introduction Over the years, there have been a number of theories by art proponents, such as Antoon Van den Braembussche (2006) about the appreciation of an artwork. These theories include descriptions and explanations of the inspirational and formal qualities of an artwork. Bearing in mind the arguments stated in the earlier chapters, the thesis play, The Return of Nkrumah, discusses through dramatization of past political decisions that are hostile and/or advantageous to the development of the Ghanaian society. In expressing this, I experimented with a number of indirect communication styles, such as, metaphors, idioms, innuendos and other proverbial expressions to describe or paint a disgusting mental picture. This is done with the hope to ignite audience capacity for action. However, these indirect communication styles used are treated in such a way that they do not shroud the message. Rather, they are intended to enhance (1) the vocabulary of the play by projecting those political incongruities discussed in the play, and (2) the language of play making it artistically appealing. From this perspective, the chapter analyses the thesis play, The Return of Nkrumah, based on its form and content. It considers the physical and metaphysical context that the play appropriates whiles emphasizing on its vocabulary. 52 University of Ghana http://ugspace.ug.edu.gh 4.1 Content 4.1.1 About the Play The Return of Nkrumah is a satirical drama that ridicules the ills, weaknesses and shortcomings of the Ghanaian society, for the purpose of inspiring social change. It assumes its dramatic quality from the sensitive political issues treated, employing elements like comic situations, conflict, humour, sarcasm, ironies and language. However, The Return of Nkrumah does not only ridicule and criticize but also provides a better alternative to the subject of ridicule. For instance, the play clearly rebukes the greedy harvesting of the country’s (Ghana) wealth by the politicians and the corrupt attitude inherent in some individuals of the society. A typical example is the likes of TEACHER ABOTSI, a character in the play, who trades his conscience for a day’s meal, and his interaction with the corrupt market women. The play, also presents characters whose actions and attitudes are positive and worthy of emulation, such us KWAME, a character who exhibits high moral conduct, uprightness and a dignified lifestyle. Mainly SHREW, who provides a better alternative to the life style choices, through her poetic lines, resolves the juxtaposition of the bad and good conducts presented in the play. Nonetheless, the functional purpose of the play does not limit my creative freedom. In exercising this unlimited but truthful artistic freedom, the play appears to unfold through a medium that is quite absurd. It explores the paradox of nature and the metaphysical. The action of the play ranges from the dark but pure metaphysical world of the dead to the seemingly bright present day of the living. 53 University of Ghana http://ugspace.ug.edu.gh 4.2.2 Theme There are a number of themes of varying significance in The Return of Nkrumah, but the most prevalent of the themes is the need for social and economic emancipation of the people of Ghana. Evident from the play, SHREW at the beginning of the Prologue foreshadows the corrupt attitude, the deteriorating way of thinking and the greedy attitude of the present generation. These are evident in the following lines; The wheel of time is rolling out fast Leaving behind the good old days of; Autosoterism, egalitarianism and patriotism. Ushering in the gluttonous present with a Hyper-myopic dreams of an aborted future Lost amid aloof streams of painful smiles. Year in and year out, we make resolutions, Most of which are stampeded at birth By our very own self; Of deteriorating thinking and In covenant with greed, inferiority, And mediocre standards, Tracking us into a trash of existence. We are the architects of a virtual vision That seldom materializes in this volcanic era. (Prelude, Line 1) SHREW’S words are affirmed by AKUFO in the following lines; 54 University of Ghana http://ugspace.ug.edu.gh ...Our mother! She has been destroyed, beaten and publicly stripped naked by her very own flesh and blood. Her vital parts are cut and traded for the hatred of oneself. Her mortal remains serve as a meal for the scavenger of her children who call themselves the watchmen of my mother’s body. (Prelude, Line 3) By “mother”, AKUFO metaphorically refers to Ghana, suggesting that the actions and inactions of the citizens have destroyed the image of the country to the outside world. In addition to that, major structures, industries and organizations have been traded off and the greedy citizen accumulating enough wealth for themselves at the expense of the nation. The play also suggests that the land is being destroyed by the people; the greedy politicians who grow fat on the country’s wealth even to the extent of discussing the collection of 10 percent (10%) on contracts at a cabinet meeting. The following lines affirm this; MINISTER OF HEALTH: Madam Speaker ...in addition to adding the 10 percent at source, it will be wise to allocate a special item for maintenance that will create room for more 10 percent. (Scene 2, Line 64) Apart from the politicians, the technocrats or the public service workers also mishandle government properties trusted to their care, encourage bribery and corruption, which collapses the government institutions and enterprises. Even the common masses seize every opportunity to steal not only from government but also from their own private association. In addition, a conversation between KWAME and the market women in 55 University of Ghana http://ugspace.ug.edu.gh scene five exposes the corrupt ways of AFRAKUMAH, the market leader. The following lines affirm this; ALL: Yes, you for give we account today, today… LEADER: Boneayεfoᴐ! Ungrateful beings! You, Shafika, did I not give you money from the market account? Did you pay? And Naa Ashorkor, you are remember I catch you when you are add plenty money to the budget the time we are prepare for the president in visit. You are beg me not to tell the other people and I never do. NAA ASHORKOR: But I am paid you for that. LEADER: And you Braimah, did I not took your son Teacher Abotsi to the Director so he can become headteacher when there are better people, and did I not always cover his bad things so that he is not sacked? And now that the plesidents is giving him a special assignment with plenty money, did you bother to come say thank you. (They all start turning way) now continue, demand account from me (Dead silence) KWAMAA: Yes I demand an account from you. LEADER: O yeah? Do you want know what I am used the money for? I am giving it to your people, I am chop it with them, and together we are destroy the economy. (Scene 5) It is also evident that even the religious leaders are not an exception of corruption. They manipulate and exploit their congregation members. They identify the rich people in the church and give them leadership roles. This comes across in Scene 4, after the 56 University of Ghana http://ugspace.ug.edu.gh unsuccessful attempt of sexual harassment on KWAMAA by the MINISTER OF FINANCE. KWAMAA: You? A Deacon? Oh, in desperation, I turned to the church, in search of hope and truth. But the church slapped me in the face. Black out! Tears of destruction. The Blood of Jesus ceases to flow. It is clotted with darkness and desire for money. Only the charismatic breadwinners are the fitters. They boast and swank of their position. The Church needs divine purification. MINISTER OF FINANCE: Children are indeed myopic, only the nearest seems meaningful. What is faith without action? They too like fame, and wealth. Under the auspices of evangelism, they identify the men of action. For fifteen years, I’ve been there, unnoticed, unseen, unrecognized. But one year in government, now a Deacon, Youth President, Men’s leader, even Women’s leader. (Scene 4) However, in the midst of all these tribulations, KWAMAA brings in the new light of change. He encourages the people to think about the future of their children and the country, give priority to the economic and productive services, which will increase revenue, widen the foundation of the country and stamp out bribery and corruption, which have eaten so much into the whole fabric of the society. At the end, EBENEZER and AKUFO also speak to the conscience of the politicians and all who have the privilege to effect change. EBENEZER: To you the watchmen of the land …Wake up from your slumber of greed, Love for power and money… 57 University of Ghana http://ugspace.ug.edu.gh Let your ways be crystal clear with Deep love for the people and the land… AKUFO: And to you who have the privilege to effect change Do so selflessly and with a transparent mind. Apply your knowledge in the home, and Resist from building a foreign empire that crashes The walls of your house, feed on your mother’s breast Rape your sisters and capture your brothers as slaves. Rather, employ your critical mind of objective construction… Attack the bats that settle on your roof, Remove the cobwebs’ that trap your progress… (Scene 5) 4.2.3 Setting The Return of Nkrumah is set in the post-colonial Ghana and the underworld. References have also been made to certain events in the history of Ghana, especially during the era of Osagyefo Dr. Kwame Nkrumah’s government and after. The metaphysical world, as mentioned earlier is set under a big tree in the cemetery in the night; the place is dark and quiet, only the hooting sounds of nocturnal birds can be heard. On the other hand, in the world of the living, actions take place both outdoor and indoor. Like most Ghanaian markets, the scene is set in an open area where sellers display their goods for sale. There is no synchronizing way of talking or walking. People move back and forth, as they carry out their individual activities. In addition, the market serves the purpose of a social institution. This marks the market as a convenient area 58 University of Ghana http://ugspace.ug.edu.gh for a political rally. KWAMAA also uses this same institution of the market as a point of contact with a cross section of the Ghanaian public while advocating change. Finally, the cabinet meeting takes place in DAAVI’s palm wine base. Under a shed roofed with thatch. There are two benches placed side by side to a short table. The table has specially created holes to support the calabashes in which the palm wine is served. 4.3 Form of Presentation 4.3.1 Plot The plot structure of The Return of Nkrumah is episodic. This is because there are no cause and effect relationship between the scenes. The principal characters and the subject matter of corruption link them. Therefore, in order to appreciate the structure of the play, it is important to follow the logical unfolding of the story and how its elements are carefully interwoven to convey meaning. Although, a holistic plot structure has been designed for The Return of Nkrumah, each scene of the play is liable of constructing its own plot diagram as it stands alone. The following is an analysis of the various stages and their significance to the development of the plot. 4.3.1.1 Prologue The prologue of the play marks the beginning of actions. In the prologue, the character SHREW juxtaposes the good old days of “egalitarianism and patriotism” with the “gluttonous present” and all its blur dreams of a self-destroyed future. This scene gradually transforms into the world of the metaphysical. It portrays the present state of agony of dead political leaders due to the “destructive celebrations” of the present day generation. The scene sets the tone for the dramatic experience. Following is an example from the lines of OFORI ATTA: 59 University of Ghana http://ugspace.ug.edu.gh (Angrily) Yes, we laid the structures but we were not greedy, we did not offer the countries properties for sale cheaply, then turn around, and buy them ourselves under different identities. We did not look for wealth so much that we could trade cocaine even to the destruction of our own children... and we did not abuse our subjects knowing well that when they sue us in court, our colleague judges will manipulate the case in our favour, now tell me are those the structures we laid? (Prelude) In this instance, the prologue reveals the major theme of the need for economic and social emancipation in Ghana. It also provides insights into the life style choices and the greedy attitudes of the present generation. 4.3.1.2 Exposition The exposition occurs at the beginning. In the prologue, the foundation of KWAME’s journey from the metaphysical to the physical world is laid. In addition, the grievances of the figures of the underworld concerning the attitudes of the present generation are established. These result in a dramatic irony, where relevant information, as this, is made clear to some of the characters, whereas other characters are unaware; KWAME: I’ll disguise myself; I’ll go as a woman, a low class woman, insignificant, that way, no attention will be paid to me. I will always report the nature of events to my colleagues here, so they too can advise… The tone of the exposition refers to the past, resulting in two minor scenes of flashback, artistically punctuating the scene of the prologue. 60 University of Ghana http://ugspace.ug.edu.gh 4.3.1.3 Rising Action Scene 1, marks the arena where actions begin to rise and a clear dramatic colour highlighted. The interaction between the Politician’s and the market women heightens the dramatic interest of the play. It reveals a variation of human characters that I seek to portray. These include (1) TEACHER ABOTSI who prefers riches to dignity, revealed in the following lines; KWAMAA: And why are you defending them? Or have they bought your conscience so soon? Moments ago you were fighting for the right of your people, why have you now turned into a housefly, eating and drinking the juice in the open sore on the bodies of your own people? (Scene 1) (2) The market women, for that matter the society who placed their politicians at high honourable positions but demand only a marginal service from them. And finally, KWAMAA, who stands for true patriotism; KWAMAA: Fight for development. Set yourselves up as an example and prove to the world that you are both capable and ready to put your country on the map, to hoist her flag and keep it flying. (Scene 1) The scene ends on a conflict between KWAMAA and TEACHER ABOTSI with the market women (society) being their centre of attraction. They confront each other “man to man” in an intense argument that build up to a heightened tension. 61 University of Ghana http://ugspace.ug.edu.gh 4.3.1.4 Complication The Scene 2 of The Return of Nkrumah marks the ground for the construction of major complications. Apart from painting a naked picture of themselves in public at the rally in scene one, the politicians unmask themselves at their private closet meeting. This ranges from adding of 10% at source on all awarded contracts to the “operation live by example” of the MINISTER OF HEALTH. The scene intensifies the satirical tone of the play with its play-let. The struggle between KWAMAA and the politicians draws a clear dramatic picture. 4.3.1.5 Crisis The dialogue or conversation between KWAMAA and MINISTER OF FINANCE in scene four creates the room for a major crisis as the key to unlocking the identity of KWAMAA is claimed by MINISTER OF FINANCE. The scene carries the core dramatic nature of the play as it is mainly built on conflict concerning some socially relevant issues in today’s society. 4.3.1.6 Climax Apart from the major climax, there are also other crisis moments in The Return of Nkrumah. The major climax is controlled by Scene 3 and the crisis moment by Scene 5. The former is full of tension and the latter a decisive phase of confrontation between the protagonist; KWAMAA, and the antagonist; the society. Scene 3, which is saturated with poems, serve a triple purpose of posing as the giant mirror that reveals 62 University of Ghana http://ugspace.ug.edu.gh the skeletal image of the society, mocking and at the same time rebuking it. This is revealed in the poems delivered by the White man, the Little School Girl and the SHREW. In the same way, the struggle between KWAMAA and the market people in the last scene leading to the unveiling of KWAMAA’s disguised gown creates a strong dramatic tension that leads to a major conflict. 4.3.1.7 Falling Action The discovery of the true identity of KWAMAA marks the beginning of the process of unravelling the plot, where the events fall in place leading the dramatic conflict to a final resolution. Artistically, the action is resolved as SHREW calls on the other five figures of the underworld to come and justify KWAME’s return. Below is the concluding line of the SHREW: …Children of the day, I beseech you to take up your canvas, And repaint your world Use bright, shinning colours Paint a new world of truth, but Not the truth of Awoonor’s river birds, Who came asking to build their nests in our trees But a solid African truth built in a green valley of value For in truth lies Beauty, and Beauty is the Ghana world (Scene 5) 63 University of Ghana http://ugspace.ug.edu.gh 4.4 Symbols and Metaphors These metaphors are used to give a better description of individuals, a group of people and situations. A few examples include the use of objects, characters and names as symbolic metaphors. All over the world, symbols have formed an integral part of human existence. Ideas are represented and/or interpreted in abstract metaphoric forms using signs. Countries, corporate groups and individuals identify themselves with emblematic codes, language, sign or colour. In the same vein, concrete ideas have been represented in many different abstract forms in The Return of Nkrumah. These concrete ideas can be grouped under five main components, including; observing object as symbol, character as symbol, name as symbol, language as symbol and the story as a symbol. 4.4.1 Object as Symbolic Metaphor The most important symbolic object used in The Return of Nkrumah is the mask of SHREW. It is a mouse-like looking mask carved with a long nose and small pupils/eyes worn by SHREW in the underworld. This symbol communicates the character of SHREW as a nagging talkative. She plays the role of the chorus by commenting on every issue, and cuts into conversations both in the metaphysical and physical world. She sometimes gives significant clues to future events. The following excerpts from the play confirm this; SHREW: Now go, go son It is too soon to be tired For the greater surprise lies ahead of thee 64 University of Ghana http://ugspace.ug.edu.gh Go before the sunsets Go, go, go… This can also be seen in the last scene before the execution of KWAME. This time playing the role of the fortuneteller, the Shrew warns the crowd against the step of beating KWAME. Beware, Beware, Beware Children of the present I can see the sky fall And the moon crashed Soon you shall harvest tears From the shadows of your past At the end of the prologue, SHREW describes herself as “…the annoying, nagging old hag who owns the mouth that eats pepper and salt, the mouse whose long and pointed nose can even smell the anus of a mosquito, whose small pupil can travel as far as the hearts of men…” The masks, separates the character SHREW from all the other characters of the underworld. It is meant to elevate her as a higher-ranking member of the underworld. Besides that, I used the mask to differentiate between the metaphysical and the physical world. This is aimed at painting a scary image of the underworld. 4.4.2 Character as Symbolic Metaphor Most importantly, the title of the play “The Return of Nkrumah” is a symbolic element. It is common knowledge that Nkrumah is dead and will not return. Even if he is 65 University of Ghana http://ugspace.ug.edu.gh reincarnated, he ceases to be Osagyefo Dr. Kwame Nkrumah as he/she might come in a different form, size, shape and body. Considering the belief of Christians in God the creator and his “judgment day”, the character Nkrumah is used symbolically to represent God, but this time not coming to judge but to cause a positive stir in the lives of the people as Jesus Christ did in the lives of most Christians. Furthermore, the character KWAME is used symbolically to reference Osagyefo Dr. Kwame Nkrumah the first president of Ghana. With the hailing of the character Nkrumah in the Ghanaian society, I symbolically used him as an instrument for reaching out to the masses. My hope is to attract the audience by using a head with an “already made” crown as my focal point. In order to satisfy the cross section of Ghanaians who are “Anti-Nkrumahists”, I also used other contemporaries of Nkrumah. 4.4.3 Names as Symbolic Metaphors A Shrew is a mouse like rodent with long nose and small eyes. It is also used to describe a bad tempered unpleasant woman. Therefore, symbolically, the character that is a talkative, critical and a commentator on the scenes, in both the physical and the metaphysical world is the SHREW. More so, I also used abbreviated names like ACP, SDP and LCP; acronyms for the following “Aggressive Capitalist Party”, “Socialist Decorated Party” and “Loud Commoners Party” to respectively symbolize certain political groupings in Ghana. Each name is aimed at portraying the nature, ideologies and practices of the political group. 66 University of Ghana http://ugspace.ug.edu.gh 4.5 Styles of Verbal Expression Perhaps the playwright’s most effective tool is the language with which she hopes to manipulate the minds of her audience, channelling it from her own imagination and judgments. Language as I have used in The Return of Nkrumah can be classified under two main levels of mode. The first is the prose, containing the everyday Ghanaian English, and some indigenous Ghanaian languages; Ewe, Twi, Fante, Ga and Hausa and the second is poetry. The poetry is in the form of independent poems fashioned to the dramatic structure in order to achieve a level of artistic satisfaction. Bearing in mind the power of poetry in shrouding messages, the poems are carefully structured such that they promote and address the vocabulary without obscuring the political message. This is aimed at avoiding a shrouded message within the dialogue. The aim of the poems is to (1) provoke thoughts (2) compliment the dialogue (3) help achieve an artistic quality. The main theme of the play is captured in each poem. 4.5.1 Prose Language in The Return of Nkrumah is an outcome of the interaction between a character and a situation. This interaction between the characters and situations spark off the prose. Furthermore, prose as used in The Return of Nkrumah, is the natural idiom of the satirical characters, the physical world, the market women/men and the politicians. The language of these characters reveals their moral attitude to life. In addition, characters with a high sense of humour and common sense express themselves only in prose. The prose language of the politicians of scene two is a reflection of their sensible attitude to life. In addition to this, the playful comments of the Ministers reveal a style of realism. 67 University of Ghana http://ugspace.ug.edu.gh Apart from the use of prose, there is also a blend of the Ghanaian languages with the English language. Some characters in the play are identified with certain ethnic grouping in Ghana, like NAA ASHORKOR a Ga, AFRAKUMAH a Fante, TEACHER ABOTSI an Ewe and SHAFIKA who speaks Hausa. 4.5.2 Poetry Poetry in The Return of Nkrumah is presented in the dialogue and as independent standing poems. By independence standing poems, I mean poems that can be taken out of the dramatic context and still viewed as a complete poetry. These poems reveal part of the central theme of the play. The kind of poetry used is dramatic, which is presented as a story using the day-to-day language of prose. The three “unusual” characters in the play recite the poems. The first is the SHREW who serves a double purpose as the chorus. She is neither mortal nor immortal. The poetic classify her as a high-ranking character. Though some of the SHREW’s lines are poetic, they have been carefully thought through and crafted in such a way that they do not shroud the message. The second and third “unusual” characters are (1) the little school girl and (2) the white man. These two characters are unusual because they are only presented as imaginary figures in the mind of KWAME. 4.5.3 Diction The diction of each poem presented in the play reflects a different perspective of the subject matter of corruption. Thus, the theme of “the need for social and economic emancipation” gives it a more rounded expression. Considering the very first lines of SHREW in the prologue, the poem reflects a subject matter of disappointment and the search for hope. The loss of the days where the brave men believe that one can only 68 University of Ghana http://ugspace.ug.edu.gh attain salvation through oneself; which is their driving force to the relentless fight for freedom. The persona describes the present day generation as ‘dead’ with no hope of a bright future unless by divine intervention. The climactic moment is achieved when suddenly the persona announces the rising of the dead, “hopeful to find the bodies of the living”. This alludes to the biblical story of Ezekiel’s prophesy in the valley of dry bones39, where he shelters the bones with flesh and muscles. Like the bones in Ezekiel’s story, which represent the people of Israel, who have become a heap of dried-out bones with all hope, lost, the persona announces her journey to the underworld. There she opens the grave of exile and causes the dead to rise again and return to the land of the living, where they have abundant opportunity to effect change. 4.5.4 Tone, Mood, Atmosphere Rhythmically, the tone, mood and atmosphere of the three poems presented in scene three are expressed in their first stanzas. From the beginning, the persona (the little school girl) expresses her inner most feeling as a background on which she paints her world. The night divorced my dream Married my day, and never cared about My unfinished thoughts of life To me, life’s dreams are like mirages On the desert, 39 The Holy Bible; Ezekiel 37:1-14 69 University of Ghana http://ugspace.ug.edu.gh In your sleep, they are shiny silvers In your wake, they turn to rusted metals As the title “Broken Dreams” suggests, the lines above truly reveal a broken-hearted person. This foreshadows her vivid description of her home, the suffering and toils of her mother who is least respected in the community. The second poem, “Ethics of the Game” which is recited by the white man, carries a tone of mockery in the first stanza. You boast of having your song After we have taken your voice, You boast of having your home, After we have taken your house But you can never boast of having your sight After we have taken your eyes, neither can You boast of having your mind After we have taken your brain The persona, who is obviously a descendant of the colonial masters, makes mockery of the effect of the foreign invasion on the society by playing back to the community some of their destructive actions and inactions leading to the society’s self-destruction. Finally, the third poem delivered by SHREW, expresses anger and disappointment in the educated class. The title “Intellectual Stupidity” can best be described paradoxically as “the foolishness of the wise” or “the wisdom of the foolish”. Waste not your breath and energy 70 University of Ghana http://ugspace.ug.edu.gh Intellectualism today, is like chasing the wind In search of an absent lover Lost years ago by the flipping of the pages of the book They flash out heavy and entangled words, Their mouths are filled with Endless rhetoric speeches that are Entangled in trunk-less arguments 4.6 Dramatic Devices 4.6.1 Conflict Though described as a satirical comedy, dramatic conflict can be said to be the bedrock on which stands The Return of Nkrumah. Conflict between two opposing forces heightens interest as the action develops. In the play, three different kinds of conflict are experienced. The first is the struggle of man against another man; whether an individual or a society, the second is the struggle of man against nature and the third, the struggle of man against himself. The conflict of ‘man against man’ is the basic and prevalent one among the three types. It is experienced in almost all the scenes in the play. Recounting from the prologue, the conflict of ‘man against man’ is made evident between KWAME on one hand and the other five figures on the other hand. The debate on the present state of their motherland ends on a strong argument of who is to be blamed, assessing the retrospective actions of one another. 71 University of Ghana http://ugspace.ug.edu.gh Also in scene one, actions are heightened by the struggle between KWAMAA and NAA ASHORKOR, MR. PRESIDENT and TEACHER ABOTSI, KWAMAA and TEACHER ABOTSI and finally between KWAMAA and the community. 4.6.2 Flashback This is a device I used to re-live some historical facts in the play. Though it interrupts the chronological flow of the prologue, it creates the background on which the shadow of the past is cast. This is achieved through the recollection of enactment of events. 4.6.3 Humour Another important device that is evident in The Return of Nkrumah is humour. Aiming at ridiculing the society, I depicted characters with certain behaviours, actions and situations with voices that can be regarded as humorous. By revisiting the plot of the play, it will be realized that the plot can be divided into two main parts; the serious dramatic scenes and the satiric scenes. The dramatic scenes are set in the underworld whilst the satiric ones are set in the physical world of mortals. In the world of the metaphysical, the actions are too serious and cannot afford to accommodate too many humorous interjections. The satiric scenes includes scene one and five which take place at the market, and also scene two and four which is set at DAAVI’s palm wine base. Humour, in The Return of Nkrumah is evoked by the actions of the characters, their language and the story itself. 72 University of Ghana http://ugspace.ug.edu.gh 4.6.4 Suspense The title, The Return of Nkrumah, is intended to spark off anxiety, so that a lot of Ghanaian eulogise about how events will unfold, whether or not the return is by Nkrumah the Osagyefo? When and why he would be coming back? And in what form is he coming? This anxiety remains uncertain until the end of the play. The dilemma as to who the real character of Nkrumah is keeps them glued to their seats. 4.7 The Vocabulary of The Return Of Nkrumah As stated earlier, discussing the vocabulary of a political drama demands a holistic view of all its dramatic elements and how they project a political thought. The hallmark of such a drama includes, observing the politico-economic basis of the theatre as spectacle, subject matter, and audience involvement. The play then serves as a commentary on society in order to instigate social change, destroy the theatrical illusion and create dialectical theatre as a way of exploring ideas and man’s contradictory nature as Betolt Brecht proposes in his epic theatre. Underscoring the above attribute to The Return of Nkrumah, the play serves as a commentary on society by reflecting the limitation of the society with the aim of stirring the atmosphere towards a positive change. Though a satirical drama, the play does not set out to only entertain but aesthetically stimulate the mind. The aim is to trigger the audience to the point of self-actualization, where they will call for a total self- purification, leading to a holistic behavioural change. Like Brecht, the goal is for the spectator to be involved in the theatrical event by observing objectively, ponder, and develop critical detachment leading to social action. 73 University of Ghana http://ugspace.ug.edu.gh Apart from the subject matter mainly boiling down to Ghana’s current political structure and its incongruities, the characters in the play also depict characters in both Ghana’s past political history and current political scene. From the beginning, in the prelude, the six most influential figures in Ghana’s fight for freedom popularly referred to as “The Big Six” are seated in the underworld lamenting over the level of corruption presently in the country. To establish this bluntly, the actual names of the members of “The Big Six” are used as the character names in the play. Hence, Osagyefo Dr. Kwame Nkrumah as KWAME, Edward Akufo-Addo as AKUFO, Emmanuel Obetsebi- Lamptey as NII LAMPTEY, Ebenezer Arko-Adjei as EBENEZER, William Ofori Atta as OFORI ATTA and Dr J. B Danquah as DANQUAH. To help make the play naturalistic only one name of each person is used. This is because, though the aim is to be blunt, it is assumed that these people are contemporaries, friends and comrades therefore, in their own private conversation they might refer to each other informally. It is hoped that, the dialogue (the conversation between these six characters) will further paint a blunt picture of who they are. Apart from “The Big Six”, there are characters such as, MR PRESIDENT, MINISTER OF FINANCE, MINISTER OF AGRICULTURE, MINISTER OF HEALTH and MINISTER OF EDUCATION. All these characters form a core team of Ghana’s political structure. To further create a blunt picture of something about government and the rule of law and to support the Characterization is the Dialogue of the play. The six figures of the underworld (The Big Six) discuss their patriotism to Ghana. In the following lines, KWAME and the other figures of the underworld recall certain events and occurrences in the past political history of Ghana, relating it to the current situation. 74 University of Ghana http://ugspace.ug.edu.gh KWAME: Allow me to answer the iniquitous and vicious allegation you made against me years back that I was dictatorial. If I were a dictator, the opposition party would have no place to stand to make the noise they were making. All I did was to release the people of this country from tyranny of decadent oath-swearing, unnecessary fines and many more. But whilst I was going about seeking the best for this country, you were busily planning my death. I remember the bomb, the bomb at Kulungugu, and several other attempts, in the end, you severely injured that innocent girl and other people. DANQUAH: Yes, but one thing you did wrong; we were not ready for independence, we were still a breast feeding baby, and when you led as to independence, you could have allowed our mother to feed us till our bones are strong enough to withstand the cold of the night, but you drove her away, and brought in people who knows not the colour of a baby’s faeces to talk of changing its diapers, because they form a cross section of people who will not oppose your ideas. That is where you went wrong; the independence was to be in the shortest possible time. NII LAMPTEY: Stop it brothers, stop it; our differences have already caused us our own lives and that of our mother. We are supposed to be resting in peace by now, but here we are keeping wake because our brothers and sisters have turned our home into an international brothel. DANQUAH: How can we rest in peace, when all they do is busy themselves; sculpting ugly images of us and naming useless and poorly constructed round-abouts after us; talk of, Danquah Circle, Kwame 75 University of Ghana http://ugspace.ug.edu.gh Nkrumah Circle, Obitsebi Lamptey circle, Ako Adjei Interchange. It gives me headache, headache. At a point in Ghana’s history, Dr. Kwame Nkrumah was accused of being a dictator, based on this; there have been several unsuccessful attempts on his life, such as the bomb at Kulungugu. In addition, whiles Dr Kwame Nkrumah was seriously advocating for a self-government now, the other members of The Big Six were fighting for a self- government in the shortest possible time. In order to further, establish that the six characters of the underworld represent The Big Six; DANQUAH refers to current structures in the present Ghana including the Danquah Circle, Kwame Nkrumah Circle, Obitsebi Lamptey circle and the Ako Adjei Interchange. In addition, in the following lines of OFORI ATTA, he refers to certain instances in resent political scene. For example, at the end of former President John Agyekum Kuffour’s government, ministers of state have been accused of cheaply selling state properties to themselves. Currently, the flagbearer of the New Patriotic Party (NPP), Nana Akufo-Addo and some other members of both the NPP and the NDC have been allegedly accused of dealing in cocaine business. The payment of ex-gratia to past government officials is still a sensitive news item and many more. From the few lines presented, it could be observed that, most of the lines are metaphorical but the fact that they describe something about governance in Ghana still holds. DANQUAH refers to the newly independent Ghana as a breastfeeding baby. He suggests that, after independence, Dr Kwame Nkrumah should have allowed Ghana’s colonial masters to guide and lead the country for a while before driving them 76 University of Ghana http://ugspace.ug.edu.gh away. Instead, Nkrumah appointed novices as leaders. This is made evidence in the following line; DANQUAH: …we were not ready for independence, we were still a breast feeding baby, and when you led us to independence, you could have allowed our mother to feed us till our bones are strong enough to withstand the cold of the night, but you drove her away, and brought in people who know not the colour of a baby’s faeces to talk of changing its diapers, because they form a cross section of people who will not oppose your ideas. That is where you went wrong; the independence was to be in the shortest possible time. The metaphorical line and many others in the play are used to paint a certain mental picture in the minds of its audience. These metaphorical lines do not shroud the message, but rather give me voice as a playwright and also help send my message across which otherwise could not be said in plain language. Furthermore, the plot structure of The Return of Nkrumah begins in the underworld where the figures of the underworld sit helplessly, trapped in the ambush of death with tears being their only comfort. Here, it has been established through characterization and the dialogue that these six figures represent The Big Six of Ghana. The actions later resulted in a flashback, where DANQUAH recalls the imprisonment of the members of The Big Six and the issue of the CIA. This sets the tone for the political rally in scene one, then to a cabinet meeting in scene two. Scene 3, moves back to the underworld where KWAME supposedly report the state of the present day Ghana to the other 77 University of Ghana http://ugspace.ug.edu.gh figures of the underworld. This takes us back to an office under the ministry of finance where KWAMAA discovers a number of hidden truths. From the above, it could be identified that, regardless of all the other dramatic elements, the plot structure of The Return of Nkrumah relates to something about governance. At both the political rally and the cabinet meeting, prevalent issues about the current political structure in Ghana are discussed. The plot structure hence depict a political vocabulary. Finally, to compliment the other dramatic elements is the setting and the symbols used in the play. The cabinet meeting is metaphorically set in a palm wine bar. This is done in order to describe the level of ridicule the present political system have turned into. It is also to suggest that, our current political leaders have reduced our cabinet meetings, where serious discussions and decision-makings that are bond on the people of this country are supposed to be made, to a palm wine bar where people drink, making merry and mock each other. From the above analysis, it could be realized that the blunt political vocabulary is treated in almost all the dramatic elements of The Return of Nkrumah. The aim is that, at places where the story or dialogue alone is not enough to paint a blunt political picture, other dramatic elements will support and help in addressing the political thought. 4.8 Ghana’s Political History As Source Material For Creating The Return Of Nkrumah The Return of Nkrumah draws its sources from two main political leaderships of Ghana. The first dates back to the period before and under the government of Osagyefo Dr. 78 University of Ghana http://ugspace.ug.edu.gh Kwame Nkrumah, the first president of Ghana and the second is the government under the leadership of former President John Agyekum Kufuor. The events and occurrences recalled under the government of Dr. Kwame Nkrumah informed the creation of the prelude, scene three and the concluding scene. Meanwhile, the whole play is set between the year 1998 and 2008 in Ghana during the period of former President Kufour's rule. Under the Nkrumah led administration, the sources tapped mainly included the struggle for independence, the arrests under the preventive detention act, the overthrow of Nkrumah and the developmental interventions under Nkrumah’s government. This sets the tone for the presentation of the level of corruption under the Kufour led administration. The choice to address corruption under the Kufour government was because it was during this period that I became privy to some corrupt practices due to my involvement in some media (radio) activities. Also, witnessing and observing some of the harmful effects of corruption on the poor masses created an unmeasurable level of passion in me, to address the topic through art. Under former President Kufuor’s administration, the Ghana Palaver Newspaper reported on some issues regarding the construction and ownership of Hotel Kufuor. The paper provided vivid evidence that supported the claim that the Ex-President Kufuor condoned an act of corruption involving John Addo Kufuor, son of Ex-President John Agyekum Kufuor. The Hotel, which was situated near the ex-president’s personal residence, was reported to have cost US$3.5 million and funded by the Prudential Bank. This bank was partly owned by three major state-owned enterprises including, the Social Security and National Insurance Trust (SSNIT), the National Investment Bank (NIB), and the ECOWAS Regional Investment Bank (ERIB). At that time, many political analysts and discussants on televisions talk shows concluded that the Ex- 79 University of Ghana http://ugspace.ug.edu.gh President Kufuor, who was then the Chairman of ECOWAS used his power to manipulate the decision of the Prudential Bank. The corrupt act of political leaders using their positions to manipulate decision in their own favour regardless of their rippling effect on the economy is portrayed in The Return of Nkrumah. Evidently, LEADER, the head of the market, uses her position to secure jobs for friends and families even when they are not qualified. She uses the dues of the other market women to expand her own business whiles wholesaling her products to others to retail at high cost. This is shown in the following lines; KOO: I am decided I am not pay any more dues in this market. Is the land for you and your father? LEADER: Hey, abomination, you insult me honourable the leader of market. Fellow market administrators, can you hear him? (Silence everywhere) it is not human beings I talk to? SHAFIKA: What you are say? LEADER: I ask whether you hear him. CONI: Yes, we are hear him, what? LEADER: Ehe? Won’t you say anything? CONI: What you want us to say? NAA ASHORKOR: Mi, mawie. It is not true what he said? Is the market you and your father property? Since you are became the leader the time this president come government, you have always dey bully us too much. SHAFIKA: We are give you money before we bring our selling table forward a little. 80 University of Ghana http://ugspace.ug.edu.gh NAA ASHORKOR: Look inside this market, your store is bigger than we all our own. You have big store with plenty things inside. As for us, the time wey we sell everything kraa, we are not get money to buy food. BRAIMAH: Some of us, we dey sell you your things. But you go make sure you press our eyes take all our profit. Today you for give us account. ALL: Yes, you for give us account today, today… LEADER: Boneayεfoᴐ! Ungrateful beings! You, Shafika, did I not give you money from the market account? Did you pay? And Naa Ashorkor, you are remember I catch you when you are add plenty money to the budget the time we are prepare for the president’s visit. You beg me not to tell the other people and I never did. NAA ASHORKOR: But I paid you for that. LEADER: And you Braimah, did I not took your son Teacher Abotsi to the Director so he can become headteacher when there are better people, and did I not always cover his bad things so that he is not sacked? And now that the plesidents is giving him a special assignment with plenty money, did you bother to come say thank you. (They all start turning way) now continue, demand account from me (Dead silence) KWAMAA: (Still sitting in the chair) Yes I demand an account from you. LEADER: O yeah? Do you want to know what I am used the money for? I am giving it to your people, I am chop it with them, and together we are destroy the economy. In addition, during the period between 1998 and 2008, Mr. Kwesi Pratt Jnr., a member of the Committee for Joint Action (CJA) strongly expressed disgust about some corrupt 81 University of Ghana http://ugspace.ug.edu.gh ministries and ministers. He noted that it was not enough to vote out a corrupt regime but also to demand accountability from officials and functionaries. The group cited corrupt practices at the National Health Insurance Scheme (NHIS), Ministry of Foreign Affairs, Regional Integration and the New Partnership for Africa’s Development (NEPAD) and the Ministry of Water Resources, Works and Housing. Kwasi Pratt stated that there were doubtful payments at the Ministry of Education, Ministry of Transportation, Ministry of Trade and Industry, and Ministry of Tourism. According to the CJA 8 ministries under the NPP, government lost GHC 440,814,014,679.00 belonging to the public in 2005 as a direct result of a combination of factors including corruption, maladministration, inefficiency and sheer negligence. Based on the CJA report and many other political debates, the acts of corruption that I observed under the various ministries are established in scene two of The Return of Nkrumah. The following lines are excerpts from the scene; MINISTER OF EDUCATION: (Moves to the podium) Madam Speaker, in my administration, government launched a program to rehabilitate broken down educational institutions from basic through secondary to tertiary level. (Laughs) Madam Speaker I assure the house that the 10% of these contracts shall be shared among the honourable honourables later. (Laughs confidently) MINISTER OF HEALTH: That is not realistic. You can’t talk about sharing 10% in parliament. What will the press and the public think of us? MINISTER OF FINANCE: (Furious) this is just a waste of time. For heaven’s sake, this is an imaginary parliament; the more exaggerated an 82 University of Ghana http://ugspace.ug.edu.gh issue, the better. That is the purpose of this exercise, to test the possible augmentative points of the socialist. DAAVI: To the house, any comments, questions or suggestions? MINISTER OF AGRICULTURE: Madam Speaker, I suggest that from now onwards, the 10% should be calculated and added to the budget before approval, this will make way for increment, and also since it is a known secret that the manager in charge will also take 10% besides the contractor’s own greedy theft, it will be wise we add our 10% at source so some of the money still remain for the execution of duty. MINISTER OF HEALTH: Madam Speaker, I second the honourable member, but I maintain that in addition to adding the 10% at source, we should create a special budget for maintenance, that will create room for more 10 percent. MINISTER OF AGRICULTURE: (Brief Pause, tempers high) Guess we can proceed. Madam Speaker, I will like to know what provisions have been made to develop the future ruling administration of this noble country. MINISTER OF EDUCATION: Oh, I’m pleased to announce that special provisions have been made to send the children of the honourable members overseas where they will enjoy a better educational atmosphere. This will help maintain the class difference in the country. DAAVI: (Pause, dead silence. Daavi gives Kwame a strong unpleasant stare) shall we proceed with Agriculture? MINISTER OF AGRICULTURE: Madam Speaker, agriculture forms the biggest part of the private sector and employs the largest population 83 University of Ghana http://ugspace.ug.edu.gh in the rural area therefore… more wealth and help attain the development goals. So far, more than 3,000 tractors have been sold to farmers at highly subsidized rates. MINISTER OF FINANCE: Call to order Madam Speaker, I have strong evidence that these tractors have not been sold to the farmers on the farms but to the parliamentary farmers, some of whom are seated among us. The poor farmers still have to pay large sums of money to these greedy business farmers just to get their lands ploughed. MR. PRESIDENT: Madam speaker, it is the turn of the capitalist, these greedy socialist have forcefully ruled us for several years, then pretentiously supported the move for democracy whilst using dubious means to steal the votes. This placed them in government for several more years before the capitalist intervention. All those years, the country’s money remained hidden in their bedrooms. Fellow capitalist, abi na me dey lie? MINISTER OF HEALTH: (Moves to the podium, the Minister of Agriculture assumes his position) Madam Speaker, integral to Human Resource Development Goals is a robust health delivery program…At the moment, all Ministers, MP, DCEs, MCEs and all government appointees are embarking on a voluntary counselling session, called operation “live by example”. This is guided by a set of rules. Rule number one, all honourable members must seek health care abroad. In that case, no citizen will get to know the actual health status of any honourable. Madam Speaker, this will not only help curb the truth that some honourables are living with HIV, but also to cut down on the 84 University of Ghana http://ugspace.ug.edu.gh rumour about honourable members peddling and taking in drugs. Madam speaker, to the citizens, all honourables die of cancer, it can be hair cancer, HIV cancer, gonorrhoea cancer or drug cancer, whatever the case may be, ‘all cancer be cancer’. MINISTER OF FINANCE: But for the fact that I live in an HIV prone environment where AIDS is an air borne disease, I’d never have agreed to this. Because I am a born again Christian and I don’t condone evil. Drug peddling is at the highest level of corruption, and even if they succeed, they don’t only use the money to campaign against us but enjoy a good family Drug Dinner, encouraging their children to knock down our noble men. MINISTER OF HEALTH: Rule number two, honourable members who wish to take concubines must do so either within the immediate environment, like their secretaries and personal assistants, or go very far away from home, a foreign land is preferable. Madam Speaker, let me use this platform to vindicate our able President and Ministers who have been accused of sleeping with ladies whilst on diplomatic missions. They actually were embarking on operation “live by example”, by impregnating these women they are only helping them to know their HIV status. MINISTER OF AGRICULTURE: For me the rule is the further you go the safer. They are all the same. See, the difference between her Royal Highness Queen Ohene and the Makola woman is paper, but the value... Furthermore, under the Kufuor government, the Commission on Human Rights and Administrative Justice (CHRAJ) stood against Dr. Richard Winfred Anane following 85 University of Ghana http://ugspace.ug.edu.gh findings of his abuse of power and conflict of interest. The commission recommended to then President Kufuor to relieve Dr Anane of his ministerial position. But despite this effort by CHRAJ, Dr. Anane was appointed as the Minister of Transportation. The probable conclusion I drew form this is either that Ex-President Kufuor is somehow indebted to Dr Anane or that both of them are close friends. This action by the former president is evident in the play when LEADER confesses to the fact that she manipulated the appointment of TEACHER ABOTSI to the position of Education Director, when there were people that are more qualified. The following lines affirm this LEADER: And you Braimah, did I not took your son Teacher Abotsi to the Director so he can become headteacher when there are better people, and did I not always cover his bad things so that he is not sacked? And now that the presidents is giving him a special assignment with plenty money, did you bother to come say thank you. (They all start turning way) now continue, demand account from me (Dead silence) Once again, there have been several allegations against the government led by John Agyekum Kufuor about Cocaine Trade. Even more alarming was the linkage of government and public officials to canine trade and smuggle. During this government, a significant amount of cocaine, about 77 parcels, vanished under police surveillance. Meanwhile an NPP parliamentarian, Eric Amoateng, was arrested and jailed by a US court, for trafficking 136lbs of heroin into Newark airport. This is also observed in the following lines; 86 University of Ghana http://ugspace.ug.edu.gh OFORI ATTA: …we did not look for wealth so much that we could trade cocaine even to the destruction of our own children… Corruption is defined as the abuse or misuse of entrusted power for private gain. It is said to thrive where temptation coexists with permissiveness. In Ghana, it is noted that corruption is common among the leadership/government officials and mainly dominated the wealthier class. Meanwhile, the greater effect of corruption hits the poor hardest. As stated earlier, inspiration have also been drawn from some instances during the government of Dr. Kwame Nkrumah. Some six members of the United Gold Coast Convention (UGCC) popularly known as “The Big Six” centre the main source on the fight for independence. These six people led the political party in the British colony of the Gold Coast. The names of these six people were, Dr. Kwame Nkrumah, Dr. J.B. Danquah, William Ofori Atta, Ebenezer Ako Adjei, Emmanuel Odarkwei Obetsebi Lamptey, and Edward Akufo-Addo. In 1948, these six freedom fighters were detained by the colonial authorities for instigating riots leading to the killing of three World War II veterans. This served as the launch pad for Ghana's independence. After the riots of 1948, the colonial government gave Nkrumah the title of Prime Minister. Though his power in this position was limited, Nkrumah used the little power he had to move the colony towards autonomy. In 1956, he put a petition before parliament, asking the British government to release the colony. This petition yielded a great result and on the 6th of March 1957, the “Gold Coast” became the Republic of Ghana, and Kwame Nkrumah became its first President. Despite this achievement, Nkrumah’s popularity among the people began to decline towards the end of his time in office. Many people felt that Nkrumah’s plan for economic development was failing. Nkrumah experienced 87 University of Ghana http://ugspace.ug.edu.gh several attempts on his life. Out of fear for his safety, he masterminded the jailing of several people, including some members of the big six. He jailed most people under the Preventive Detention Act. Many felt that he was no longer a people’s President. In 1966, Kwame Nkrumah was overthrown. This short history forms the bases for the build-up of conflict in the prelude of The Return of Nkrumah. The following lines are excerpt from the play; KWAME: We were the freedom fighters. We fought for her sake, her emancipation was our satisfaction. We laid down our lives, suffered different forms of molestation for a day like this to be joyous; we harvested our tears and sweat to quench the thirst of our children, so the lot of the brethren can smile deeply, but instead... EBENEZER: (Angrily) No! Those were not the structures we laid, but we ought to have stayed together as team, teach the younger generations the true patriotism we stood for, before finally departing from the surface of the earth, but instead, we fought among ourselves, to the extent that some of us were imprisoned by a fellow comrade. KWAME: (Angrily) it was your fault, all of you, you antagonized me unnecessarily, you shut your eyes to the sense in my ideologies and you capitalized on the loopholes in it. DANQUAH: (Angrily) But for your dictatorship, it would have been a different story. You became too ambitious and arrogant. I personally sealed the letter inviting you to be the secretary of the freedom fighters but in the end you signed my death warrant. KWAME:(Sarcastically) What about the bomb and all the death traps, did you sign those as well? 88 University of Ghana http://ugspace.ug.edu.gh EBENEZER: You knew too much, a master of all, your ideas were the ultimate, you wanted everybody to dance to your tune, and how can you talk of antagonism when you caught me unaware whilst I was preparing for a dinner with our bosom friend. KWAME: You wanted me dead, is that the friendship you talk about? EBENEZER: You accused me wrongly, Kwame, that was why the court acquitted and discharged us on all charges, but in spite of that, we were not released from prison, but rather, taken to the Medium Security Prison. DANQUAH: You declared the whole trial null and void, dismissing from office the chief Justice and the other two judges. KWAME: It was obvious they were influenced in favour of the accused persons. So I ordered for a retrial of the three accused persons by another special court. It was just right I take those unfaithful judges from office so they don’t influence the new judgment as well. OFORI ATTA: A special court specially constituted by you with the newly appointed chief justice as the sole member, sitting with a jury of twelve young men recruited from your ideological centre. AKUFO: And the second trial was conducted in camera at the Castle. The public and the press were excluded from the trial. AKUFO: Ebenezer was found guilty and sentenced to death, so was each of the four other accused persons. So was the case of the rest of us. KWAME: If indeed you were innocent as you are making it seem, how will you explain the death traps, the bombs and the poisoned foods and drinks. I was one of you. We were all freedom fighters; the only 89 University of Ghana http://ugspace.ug.edu.gh difference was our action plans. Why will you choose to end the life of a man whose sole aim is to fight for his country? Why? OFORI ATTA: Do not put up such a pretentious face. You killed our dreams for yours to prevail, so you can be hailed the man of the century, the man who never dies. KWAME: No! I never touched any of you; you were arrested and imprisoned under the Preventive Detention Act, charged for treason and conspiracy to commit treason. AKUFO: Who passed the Law? You! Who enforced it? You! You!You! KWAME: … If I were a dictator, the opposition party would have no place to stand to make the noise they were making…whilst I was going about seeking the best for this country, you were busily planning my death. I remember the bomb, the bomb at Kulungugu, and several other attempts, in the end, you killed that innocent girl and other people. OFORI ATTA: Now tell us, what is the result? What is there to show for it? Are we jubilating because we are the most developed colonized country or because we are the first to achieve independence but still swimming in poverty? KWAME: But have I not done enough to prove my diligence over a short period. Talk of infrastructural and economic development; road, communication, education, electricity, water supply, health and even the building of the industrial area. DANQUAH: Yes, but one thing you did wrong; we were not ready for independence, we were still a breast feeding baby, and when you led us to independence, you could have allowed our mother to feed us till our 90 University of Ghana http://ugspace.ug.edu.gh bones are strong enough to withstand the cold of the night, but you drove her away, and brought in people who knows not the colour of a baby’s faeces to talk of changing its diapers, because they form a cross section of people who will not oppose your ideas. That is where you went wrong; the independence was to be in the shortest possible time. KWAME: (laughs) I can assure you that we don’t need the help of the colonial masters in order to develop brother, I had laid down plans, (miserably) but my dreams, and my visions were crushed, trampled and trodden… DANQUAH: Get it! Just get it, you are not the only child our mother had, neither are you the only child with a big head, actually, one of your biggest flaws was that, you never shared your claimed dreams and visions, you surrounded yourself with people who never told you the truth about the conditions of the populace. If you must know, pregnancy is no guarantee of fruitfulness and performance is not measured by plans and dreams. In recent years, Nkrumah’s popularity among Ghanaians has risen. People are now coming to once again believe that his ideas for economic development could work. Based on this, I decided to use the character Nkrumah as the metaphoric conscience of Ghana, a platform on which I stand to critique the Ghanaian economy. 91 University of Ghana http://ugspace.ug.edu.gh CHAPTER FIVE 5.0 SUMMARY, CONCLUSION, FINDINGS AND RECOMMENDATION 5.1 Summary From the aforesaid discussion, the vocabulary of a drama is the range of artistic or stylistic forms stored up in its elements for the necessary communication. This includes a holistic view of what the dramatic piece communicates. Thus all of its dramatic elements, including the dialogue, plot structure, setting and symbols etc. are treated in such a way that they project a political thought. From this perspective, the study of the vocabulary of political plays, as this thesis underscores, resulted in the creative synthesis of The Return of Nkrumah. The kind of political drama described here is one whose subject matter is centred on the state, government and public affairs. In the Ghanaian communication style, a lot of indirect language such as idioms, innuendos and other proverbial expressions are used to communicate unpleasant and particularly difficult ideas to make the message easy for the recipient to bear. This concept of communication has found expression in the Ghanaian literary scene whereby unpleasant scenarios are presented proverbially or metaphorically. These scenarios seem to have informed most of the political plays written in Ghana. The unpleasant scenarios and situations are shrouded in metaphorical and proverbial vocabularies to make it bearable to recipients. But very often, in these attempts to sweeten the bitter pill, the intended message gets lost and therefore eludes the listener. In this experiment, in order not to lose focus of the subject or the bitter pill, I am experimenting with being blunt with my political vocabulary and bearable at the same time. 92 University of Ghana http://ugspace.ug.edu.gh Based on this, my aim was to write a play with a blunt political vocabulary and to use events and occurrences in Ghana’s political scene as source material for creating a play. The thesis was guided by (1) the extent to which thoughtful and sympathetic political events could be used as source material for playwriting and (2) the level at which Ghanaian dramatists could be blunt but not vulgar in portraying political incongruities of Ghana. These thesis sentences have been achieved through the creation of The Return of Nkrumah. Political dramas like most plays educate and transform members of the society. The achievement of this purpose lies in the vocabulary of the dramatists on one hand and the vocabulary of the genre on the other hand. This artistic freedom of the playwright allows for a certain level of liberty to comment on national issues and call for change where appropriate Therefore in a corrupt society, drama, if it is truthful, must also reflect corruption. It is observed that, this didactic nuance of the political play is achieved if the political thought is made blunt and radical. The creation of a play with a blunt political vocabulary, aimed at achieving a social change can be linked to Brecht’s Epic theatre where he proposes an alienating effect through poetry, music or dance. The cause of disagreement here is how theatre can be blunt and poetic at the same time. Based on this, it is observed that metaphor form the backbone of most political dramas with blunt vocabularies. These metaphors, though noted for obscuring messages, are used in a way that they do not compromise the political tone, mood and imagery. In most cases, the metaphors depict the dramatists own voice, by enhancing the description of events, occurrences, characters and object. The approach used in conducting this thesis involved an inductive analysis of plays with political vocabularies, which resulted in the creation of The Return of Nkrumah. 93 University of Ghana http://ugspace.ug.edu.gh Qualitative research methods were used in collecting data for this study. These include interviews, Focus Group Discussion (FDG) and observations. Individual experiences and views of the public were sampled in a Focus Group Discussion (FGD). Two groups of people were identified for the FGD. Secondary information was also gathered from written materials on the study, both in the libraries and on the internet. Since the study was explorative, a qualitative case study was used to investigate the importance of creating political plays that mirror the Ghanaian political scene without any surreptitious tinges. The motivation to write the play, The Return of Nkrumah, stems from my emotional response to topical political issues. 5.2 Findings The study revealed that thoughtful and sympathetic political events could be used as source material for writing a play in Ghana. The Return of Nkrumah, the play upon which this thesis is based is about corruption in Ghana. It addresses the illegal collection of 10% on contracts. This issue of collecting 10%, which is a form of bribery, is seemingly becoming a fashion in Ghana and this practice has eaten into the whole fabric of society. The play also comments on the sexual immorality of some Ministers of State. In recent years, there have been a number of newspaper reports on Ministers of State engaged in some sexual scandals. Apart from all these, some cues have been taken from reports by an investigative journalist in Ghana, Anas Amereyaw Anas, on corruption in some government departments including the Customs division of the Ghana Revenue Authority and the Driver and Vehicle Licensing Authority (DVLA). The study further revealed that dramatists should be blunt but not vulgar in portraying political incongruities of Ghana. The Return of Nkrumah draws a connection with Ghana, right from the prologue to the final scene. It makes use of characters from the 94 University of Ghana http://ugspace.ug.edu.gh post-colonial political scene. For instance, the six figures of Ghana’s independence known as the “Big Six” are characters in the thesis play. Example, Osagyefo Dr. Kwame Nkrumah as KWAME in the underworld and KWAMAA in the physical world, Ebenezer Ako-Adjei as EBENEZER, Edward Akufo Addo as AKUFO, Joseph Boakye Danquah as DANQUAH, William Ofori-Atta as OFORI-ATTA and Emmanuel Obetsebi Lamptey as NII LAMPTEY. Apart from using their names, it is stated in the play that they are the top six figures who fought for independence. References have also been made to the government of Ex-President John Agyekum Kufour. The whole action in the physical world portrayed in the play happens during his government. Even though the play does not mention the actual names of Ministers of State and political parties, it draws allusion to them in such a way that the average Ghanaian can relate to. The songs sung by the market women in scene one also reveal a level of bluntness as they describe the situation in the country during the first term of Ex-President Kufour when the country declared HIPC (Highly Indebted Poor Country). Reviewing some related literature on the subject, it was observable that establishing bluntness only in the dialogue could make the play banal and less interesting. To avoid this, notable political dramatists make use of metaphors in an interesting way that gives voice to the playwright but does not shroud the message. The kind of metaphor used is neither in the style of verbal expression nor in a metaphoric story. But only compares certain elements such as place, objects and names to other things. In other words, the basic idea and the metaphor have some connection, such as a ‘box’ as a metaphor for ‘house’ or a ‘tube’ for ‘train’. By metaphorically presenting objects, the playwright’s opinion on the subject is revealed. These metaphoric presentations does not affect the story neither does it obscure the message of politics. Rather, it reveals the playwrights position on the matter and is intended to provoke thoughts on the subject. From the 95 University of Ghana http://ugspace.ug.edu.gh thesis play, a cabinet meeting of the seat of government is set in a palm wine base, where people drink, play and make fun. This is to suggest that, politics and government in Ghana have been reduced to a child’s play. Politicians have turned to comedians and drunkards; drunk with greed and power. 5.3 Justification of Objectives In my first objective, I sought out to write a play with a clear, precise and blatant political vocabulary. Evidently, I have created The Return of Nkrumah, which is included as Chapter 6 to this thesis. Also in Chapter 4, item number 4.7, on page 70, I discussed the vocabulary of The Return of Nkrumah, justifying its blunt political tone. I addressed how the various dramatic elements of the play contribute to projecting the political vocabulary. The specific element discussed include the story/subject matter, dialogue, characterization, plot structure, setting and symbols. Secondly, I sort out to use events and occurrences in Ghana’s political scene as source material for creating a play. This objective was achieved through the content of The Return of Nkrumah. Also in Chapter 4, item 4.2, I discussed in details the content of the play. I touched on the background information to the play, theme and setting. In the same chapter, under item 4.8, I have also discussed Ghana’s political history as a source material for the creation of The Return of Nkrumah. I looked at various instances in the play and how they relate with something on either the past or the present political scene. 5.4 Conclusion Perhaps drama can aesthetically and instructively establish itself in the Ghanaian political circle as machinery for correcting and exposing the ills of government and its 96 University of Ghana http://ugspace.ug.edu.gh officials’ whiles building an artistic concept. Ghana as a developing country, whose political or governmental structures are still at fundamental stage needs a type of drama that openly without any obscurity rebukes, exposes and protests against the ills of government. These will help direct, reshape and reduce to some extent corruption among the government officials and the public as a whole. Ghanaian dramatists may begin to view theatre through double lenses; the “political lens: and the “visual aesthetic lens”. This dual-purpose type of drama allows for achieving its didactic impact on the audience whilst satisfying the aesthetic taste. In this sense, the language used coupled with metaphors and symbols exists through the artistic lens while the politics (subject matter) through the radical lens. Drawing inspiration from the arguments discussed in the main thesis, a drama with blunt political vocabulary may use metaphors but in the way that is discussed in the main thesis, so that it does not shroud its political message. The “political lens”, may be aimed at criticizing without molesting corrupt government officials and arousing the audience capacity for action, bringing them to a point of recognition and compelling them to make a decision. To achieve this, the mode of presentation is essential. The artistic concept and the protesting nuances must walk hand in hand. The easiest and most probable conclusion is that, in the treatment of a political subject, the dramatist may unravel the story in a clearly defined plot structure. Secondly, it must be presented or structured in such a way that it will be aesthetically appealing. Working on the thesis play, The Return of Nkrumah, revealed that, relying on classical playwriting canons can help appropriate the plays of “young” writers or student-artists within the standard benchmark of this expression. In addition to that, it is necessary that dramatists work according to the inspiration of the moment. For an art work to be truthful then it is necessary that the dramatist expresses him/herself freely. This is 97 University of Ghana http://ugspace.ug.edu.gh regardless of the form or medium in which he chooses to express himself; the art must be true to itself. Logically then, if that which is beautiful is that which is expressed freely, then that which is ugly is that which is false and artificial, hence, a good art work must be devoid of any artificiality but based on the freedom of inner expression. 5.5 Recommendations In this thesis, I conducted an experiment on the extent to which blunt vocabulary can be used effectively in a political play in these contemporary Ghanaian times. Based on this, it is recommended that; 1. Future researchers should look for more grounded and complete theories of the political drama as machinery for reshaping the Ghanaian political structure. This will help generate an academic discussion, which will help establish the artistic concept. 2. In creating a political play with didactic nuances, it is important that the various elements of dramatic piece, holistically communicate a political idea. These elements should be treated in such a way that they do not shroud the political subject matter. Therefore, the story should find a balance between the political theme and the art. 98 University of Ghana http://ugspace.ug.edu.gh APPENDIX 1. CAST LIST 1. Moses Gyemfi - Beggar & Kwame 2. Eric Awunyo - Minister of Finance & Paa Willie 3. Josephine Okai-Smith - Shrew 4. Prosper Amu Quandoh - Teacher Abotsi 5. Linda Opoku Yeboah - Theodosia & Little School Girl 6. Twum Barimah Peter - Okechukwu & Mr. President 7. Elizabeth Elorm Coffie - White Man & Shafika 8. Pascal Kelvin Kudiabor - Akuffo & Blind Beggar 9. Albert Denis - Nii Lamtey & Koo 10. David Mawuli - Ebenezer 11. Atitsogbui Mackenzy - Joseph & Crippled Beggar 12. Doreen Cudjoe - Leader 13. Gertrude Awuletey - Naa Ashorkor 14. Barbara Boateng Korankye - Coni 15. George Ofori - Braimah 16. Emma Osmond Lamtey - Minister of Agriculture 17. Dzidudu Darkey-Mensah - Daavi 18. Linda Bawah - Minister of Education 19. Ebenezer Asime - Minister of Health 99 University of Ghana http://ugspace.ug.edu.gh 2. THE RETURN OF NKRUMAH PRELUDE The stage is bare and dark. Loud war music is heard as a bright spotlight reveals the silhouette of Shrew coming from a distance. As the music dies, she moves to centre stage. (Shrew is an old woman, authoritative, talkative and strong spirited. She is holding a mask created in the form of a mouse with a long pointed nose and small little eyes.) The Shrew: The wheel of time is rolling out fast, Leaving behind the good old days, Days of autosoterism40, egalitarianism and patriotism. Ushering in the gluttonous present A present, filled with hyper myopic dreams of an aborted future, Lost amid aloof streams of painful smiles. Year in and year out we make resolutions, Most of which are stampeded at birth by our very own self; Our deteriorating thinking, That is in covenant with greed, inferiority and mediocre standards, Tracking us into a trash of existence. We are the architects of a virtual vision; That seldom materializes in this volcanic era. I am embarking on a journey, a journey to the underworld Where lies the souls of the departed, Where light cannot boast in the presence of darkness, and Where the answer to life’s most difficult puzzle lies. For only after hatching the egg will you see the colour of its feathers. Beware! Children of the present, 40 Autosoterism: The belief that one can obtain salvation through oneself. 100 University of Ghana http://ugspace.ug.edu.gh For I can see a new heaven and a new earth. History is about to repeat itself. The skeletons of the dead are rising. Hopeful to find the bodies of the living. Beware, you children of the day, not to deny them life, For they come not for destructions but for construction. To resurrect our dead future, Catapulting it into a new planet of collective nationalism and objectivity. Beware! Beware! Beware! (Exists) It is midnight. The weather is cold and calm, only the melodic voices of the singing birds could be heard. A dim blue light reveals the outline of six figures of men seated in different postures. It is obvious they are in a dilemma, thinking and afraid. There is dead silence. Kwame: (Sitting in the middle, breaking the silence) We have been caught in the ambush of death, oppressed by its apprehensive look. Like babies, we sit helpless, crying and crawling, stretching out our hands, hoping our mother will answer. A place of rest it is meant to be, but how can we rest, knowing destruction is their destination, the annihilation of our mother. Akufo: Ghana! My mother! Our mother! She has been destroyed, beaten and publicly stripped naked by her very own flesh and blood. Her vital parts are cut and traded for the hatred of oneself. Her mortal remains serve as a meal for the scavenger of her children who call themselves the watchmen of my mother’s body. The watchmen, our children, are the custodians of the state’s purse. 101 University of Ghana http://ugspace.ug.edu.gh Nii Lamptey: (To Akufo, angrily), if only I could reach out my fierce hands, I would immediately pluck out the greedy eyes of our sons and their playmates, for trading the family name, pride, and dignity for a day’s meal. Kwame: We were the freedom fighters. We fought for her sake, her emancipation was our satisfaction. We laid down our lives, suffered different forms of molestation for a day like this to be joyous; we harvested our tears and sweat to quench the thirst of our children, so the lot of the brethren can smile deeply, but instead... Ebenezer who seems to be sitting/lying adamantly all these while, gets up angrily. He addresses the others. He seems to be disturbed by the comments and lamentations of the others. Ebenezer: (Angrily) Will you keep quiet for a minute, gather saliva and quench the fire in your mouths. After all, the fault is not totally from them, we laid the structures. You, Kwame, was your government not the forerunner and beginner of Ghanaian economy? Is the present not built on the past? And you, Akufo, Nii Lamptey, Ofori-Atta and Danquah, did your actions of those days not influence the current situation? He who claims his clothes have never been soiled, let him cast the first stone. We laid the structures, yes, we … Ofori-Atta: (Angrily) Yes, we laid the structures, but we were not greedy. We did not offer the country’s properties for sale cheaply and then turn around and buy it ourselves under different identities. We did not operate Swiss bank accounts under ghost names. We did not look for wealth so much that we could trade cocaine even to the destruction of our own children. We did not demand for huge and unrealistic ex-gratia payments knowing well that it would cripple development, and we did not abuse our subjects 102 University of Ghana http://ugspace.ug.edu.gh knowing well that when they sue us in court, our colleague judges will manipulate the case in our favour, now tell me (to figure Ebenezer) are those the structures we laid? Ebenezer: (Angrily) No! Those were not the structures we laid, but we ought to have stayed together as a team, teach the younger generations the true patriotism we stood for, before finally departing from the surface of the earth, but instead, we fought among ourselves, to the extent that some of us were imprisoned by a fellow comrade. Kwame: (Angrily) It was your fault, all of you, you antagonized me unnecessarily, you shut your eyes to the sense in my ideologies and you capitalized on the loopholes in it. Danquah: (Angrily) But for your dictatorship, it would have been a different story. You became too ambitious and arrogant. I personally sealed the letter inviting you to be the secretary of the freedom fighters but in the end you signed my death warrant. Kwame: (Sarcastically) What about the bomb and all the death traps, did you sign those as well? Ebenezer: You knew too much, a master of all, your ideas were the ultimate. You wanted everybody to dance to your tune, and how can you talk of antagonism when you caught me unaware whilst I was preparing for a dinner with our bosom friend. (Everybody freezes on stage. A flashback, lights go dim. A spot light reveals a dinning set. A middle aged woman is setting the table.) Hurry woman, they’ll soon be here. I’ve asked the driver to pick them up from the hotel. They arrived in the country a week ago. It has been one meeting after the other, today seems to be the only free day for both of us. (A brief pause) And do not forget he’s coming with his family. Theodosia: How many are we expecting? 103 University of Ghana http://ugspace.ug.edu.gh Ebenezer: They are three in all, himself, his wife and his child, I don’t know which sex though, but the sex doesn’t determine the size of the bowl, right? Theodosia: Not the bowl but the food. If the mountains were edible, it would have been long gone, because just one man can finish it in a day. Ebenezer: Of course yes, not when the women satisfy their belly before the food gets cooked. And the fish always dissolve in the soup, even snails do dissolve sometimes. Theodosia: Eben, are you insinuating I eat all the fish before serving you? Ebenezer: Not at all dear, only suggesting you eat more protein than I do. Lest I forget, have you put the Champaign in the fridge? Theodosia: Yes I have. (Brief pause) I have never seen you this nervous; he must have been a very good friend of yours. Ebenezer: Okechukwu is a very good friend to Kwame and I, you know what they say; old friends are the best. Theodosia: Tell me about the good old days. 104 University of Ghana http://ugspace.ug.edu.gh Ebenezer: Okechukwu is the only honest Nigerian I have seen so far. Our encounter in Lincoln, will forever be memorable to me. It was a lonely cold desert for me until I run into Okechukwu. He, Kwame and I became very good friends. Okechukwu is full of humor, we... (The sound of a car horn is heard) Theodosia: (Looking through the windows) Eben, they are here, I’m nervous, my hair, do I look good? Ebenezer: This is not the time for looks woman; get the food ready, I will get the door Okechukwu enters. He raises a song as he sets eyes on Ebenezer. Ebenezer joins him in singing Okechukwu: (Singing) Judgment day is coming, Judgment day is coming I will stand, you will stand My country will stand, your country will stand All men shall stand before the throne of God, to give account of themselves. Ebenezer: Truth… Okechukwu: Is freedom All: For one man one grave 105 University of Ghana http://ugspace.ug.edu.gh Ebenezer: Welcome to my humble abode, Dr. Okechukwu, the only honest man in Nigeria. (They both burst into laughter) Okechukwu: Thank you my friend. I consider that a compliment. (Looks at Theodosia who has been standing at the door). You must be Theodosia. The cradle of beauty. Can I? (Takes her hand) Who says the beautiful ones are not yet born (kisses her) Theodosia: Thank you sir, I’m honored. And the family? Okechukwu: As usual, women shop at every bus stop. We are returning to Nigeria tomorrow and they cannot afford to leave this country without visiting the shopping centers. They are out on the streets of Accra. Ebenezer: That is the trouble I face in this house friend, she buys me a new suit every month, very soon I will set up a boutique. Theodosia: That is not true Eben, I buy them only once in every six months. Okechukwu: (Clears throat) truth, my friend, truth. Ebenezer: It’s a simple calculation; she buys me six suits in every six months, which means, one suit for one month. 106 University of Ghana http://ugspace.ug.edu.gh Okechukwu: (Sarcastically) I guess that is an excuse to get more clothes for themselves. Theodosia: (Laughs) I can see both of you are of the same feather. At the table please. Okechukwu: And Kwame, how is he doing? Ebenezer: Only a couple of misunderstandings here and there, but it’s still under control. Okechuchu: I sent him a message informing him of my coming. Better prepare a table for him, I know him, he’ll drop in on us soon. This country is lucky to have a man like Kwame as a leader, he’s full of vision and with his strong passion for his people, and I strongly believe with Kwame as head, you will soon make it there. Ebenezer: That is all we hope for, to see our country grow, and develop. (The doorbell rings) Theodosia: I’ll get it. (Kwame enters) Kwame: (Setting eyes on Okechukwu and Ebenezer) Truth is Freedom. Okechukwu: For one man one grave. Welcome brother, you didn’t tell you’ll be coming. It is not surprising though. 107 University of Ghana http://ugspace.ug.edu.gh Kwame: Sorry brother, rather on a different assignment. First to remind my good friend here (pointing at Ebenezer) about the loyalty of a true friendship and secondly, to welcome the most honest man in Nigeria to our peaceful but rather betraying country. (Raises a song as he shakes hands with Okechukwu. All three of them join in singing) Judgment day is coming, Judgment day is coming I will stand, you will stand My country will stand, your country will stand All men shall stand before the throne of God, to give account of themselves. Kwame Is this not beautiful, to have friends you can share your joy with, remember the good old days and laugh off the craziness of the past? Friends who will not be carried away by the whirlwind of ambition? One who will not betray the trust of a true friend? Okechukwu: You sound rather troubled and sarcastic my good friend. Anything I should know about? Kwame: Maybe, our good friend Eben, can explain to us why he will choose to stab a friend in the back. Okechukwu: (Laughs) You can’t be serious. Kwame: Oh yes I am, our friend here is a traitor, conspiring to kill, to kill me. Okechukwu: This must be a joke. 108 University of Ghana http://ugspace.ug.edu.gh Kwame: No joke brother. There he is, let him defend himself if he has any guts left in him. Ebenezer: There you go big head. The most knowledgeable. Wiser than the gods. What proof have you this time that I planned you death. Kwame: I do not need the gods to tell me. You, my friend is a traitor. Theodosia: Who is the traitor here, is it the one that was offered the post of General Secretary but declined the offer and rather recommended his intimate friend or the one accusing his friend unjustly, without any proof, tell me Kwame, who is the traitor, you or Eben? Kwame: Woman, I advise you go in and pray your husband is not found guilty. Ebenezer: (To Kwame) This could be my judgment day, but yours will be more disastrous. (End of the flash back. The lights go back on the six figures) I was arrested the next day. A true stab in the back it was. Apart from the fact that we were both freedom fighters, you and I had been intimate friends. Kwame: You wanted me dead, is that friendship you talk about? Ebenezer: You accused me wrongly, Kwame. That was why the court acquitted and discharged us on all charges, but in spite of that, we were not released from prison, but rather, taken to the Medium Security Prison. 109 University of Ghana http://ugspace.ug.edu.gh Danquah: You declared the whole trial null and void, dismissing from office the Chief Justice and the other two judges. Kwame: It was obvious they were influenced in favour of the accused persons. So I ordered for a retrial by another special court. It was just right I take those unfaithful judges from office so they don’t influence the new judgment as well. Ofori-Atta: A special court specially constituted by you with the newly appointed chief justice as the sole member, sitting with a jury of twelve young men recruited from your ideological centre. Akufo: And the second trial was conducted in camera at the Castle. The public and the press were excluded from the trial. Ebenezer: During the summing up of the trial, the Chief Justice, wept bitterly and openly. There I knew he was sitting on a chair with pricking nails, beaten by you. Akufo: Ebenezer was found guilty and sentenced to death, so was the case of the rest of us. Kwame: If indeed you were innocent as you are making it seem, then how will you explain the death traps, the bombs and the poisoned foods and drinks? I was one of you. We were all freedom fighters; the only difference was our action plans. Why will you choose to end the life of a man whose sole aim is to fight for his country? Why? 110 University of Ghana http://ugspace.ug.edu.gh Ofori Atta: Do not put up such a pretentious face. You killed our dreams for yours to prevail, so you can be hailed the man of the century, the man who never dies. Kwame: No! I never touched any of you; you were arrested and imprisoned under the Preventive Detention Act, charged for treason and conspiracy to commit treason. Akufo: Who passed the law? You! Who enforced it? You! You! You! You! Kwame: Allow me to answer the iniquitous and vicious allegation you made against me years back that I was dictatorial. If I were a dictator, the opposition party would have no place to stand to make the noise they were making. All I did was to release the people of this country from tyranny of decadent oath-swearing, unnecessary fines, slavery and many more. But while I was going about seeking the best for this country, you were busily planning my death. I remember the bomb, the bomb at Kulungugu, and several other attempts, in the end, you severely injured that innocent girl and other people. Ofori Atta: Now tell us, what is the end result? What is there to show for it? Are we jubilating because we are the most developed colonized country or because we are the first to achieve independence but still swimming in poverty? Kwame: But have I not done enough to prove my diligence over a short period. Talk of infrastructural and economic development; roads, communication, education, electricity, water supply, health and even the building of the industrial area. 111 University of Ghana http://ugspace.ug.edu.gh Danquah: Yes, but one thing you did wrong; we were not ready for independence. We were still a breast feeding baby, and when you led us to independence, you could have allowed our mother to feed us till our bones were strong enough to withstand the cold of the night. But you drove her away, and brought in people who knows not the colour of a baby’s faeces to talk of changing its diapers, because they form a cross section of people who will not oppose your ideas. That is where you went wrong; the independence was to be in the shortest possible time. Kwame: (Laughs) I can assure you that we don’t need the help of the colonial masters in order to develop brother, I had laid down plans, (miserably) but my dreams, and my visions were crushed, trampled and trodden… Danquah: Get it! Just get it, you are not the only child our mother had, neither are you the only child with a big head, actually, one of your biggest flaws was that, you never shared your claimed dreams and visions, you surrounded yourself with people who never told you the truth about the conditions of the populace. If you must know, pregnancy is no guarantee of fruitfulness and performance is not measured by plans and dreams. Nii Lamptey: Stop it brothers, stop it; our differences have already caused us our own lives and that of our mother. We are supposed to be resting in peace by now, but here we are keeping wake because our brothers and sisters have turned our home into an international brothel. Akufo: Rest in peace! Rest in peace you say? Rest in peace when my homeland stands on a tripwire? 112 University of Ghana http://ugspace.ug.edu.gh Ebenezer: How can we rest in peace, when all they do is busy themselves; sculpting ugly images of us and naming useless and poorly constructed round-abouts after us, talk of, Danquah Circle, Kwame Nkrumah Circle, Obitsebi Lamptey circle, Ako Adjei Interchange… It gives me headache, headache. Kwame: We have to do something, we have to save our home, I have to go, my home is in crisis. (Shrew enters, laughing, she is wearing her mask.) Shrew: (Still Laughing) Did I hear you say, I have to go home? If I may ask home to where? Hell or heaven? Kwame: To my mother’s land, to the home of my birth, our birth. Shrew: Don’t be deceived, man of the century, this is a new generation. Nii Lamptey: Who are you, old woman? Shrew: I am the annoying, nagging old hag, who owns the mouth that eats pepper and salt, the mouse whose long and pointed nose can even smell the anus of a mosquito, whose small pupil can travel as far as the hearts of men, I am death the prisoner of your souls, ha ha 113 University of Ghana http://ugspace.ug.edu.gh Nii Lamptey: Death! If you’re indeed death, then help us. We need you old woman, we need to send a message to our children, and we need to caution them, we need to teach them the virtues of life. Shrew: Ha ha ha, I only imprison the souls of men. What you’re asking me to do is what I do best; kill them, for that is the only way I can deliver your message. Danquah: No! We don’t want them dead; this place is too congested, please… Kwame: Then release me, let me go and caution them myself. Ofori-Atta: Go where, big head? Is it because they call you the Osagyefo, or the man of the millennium? oh… I get it, you want to prove that you’ll never die, isn’t it? Is that it? Kwame: Don’t be foolish, you have always been too short sighted for my liking. Can’t you see where they are heading? Can’t you predict the future? (To the Shrew) Please let me go, I can do it, I’ve done it before. Shrew: (Laughs) What makes you think they’ll accept you? This is a new generation. Kwame: I’ll disguise myself; I’ll go as a woman, a low class woman, insignificant, that way, no attention will be paid to me. I will always report the nature of events to my colleagues here, so they too can advise on which way to go, (Stretching out his fist) I will go. (There is a brief silence, with the six figures looking into each other’s eyes) 114 University of Ghana http://ugspace.ug.edu.gh Nii Lamptey: (To the Shrew, breaking the silence) If he says he can do it, then, please let him go (He drops his fist on Kwame’s own) Ebenezer: (Also dropping his fist) Though we’re no longer the best of friends, I still believe in his capabilities, let him go. Danquah: (Dropping his fist) Let him go. Shrew: And You, Ofori-Atta, what do you say? Ofori-Atta: (Hesitantly) What can I say, majority carries the vote (Drops his fist on top of the others. The lights go off; the spot light reveals Shrew, holding her mask.) Shrew: The spirits of the dead are waging war against their own past. They gnash their teeth and bite their lips in despair. Their screams are drowned in the destructive celebrations of the present; Trivializing their necessities, valuing the luxuries Indeed, there is much left undone. Like my father, Anyidoho rightly said, To call our situation a dilemma is just a bad excuse for inaction. Children of the present, I beseech you to take kindly the counsel of the years, Speak the truth quietly and clearly. For in the boisterous demands of life, truth keeps peace with the soul. Black Out 115 University of Ghana http://ugspace.ug.edu.gh SCENE ONE At the market square. The market women are communally clearing the place, packing and unpacking of things in order to put the market in a good condition. After minutes of engaging in the clean-up exercise, the market men and women move to the individual sheds. They are changing into their best clothes, some are wearing makeup (the makeups were exaggerated such that the last audience member can observe it). The atmosphere is tensed everybody is minding his/her own business. A group of drummers and dancers are seated at the far end of the stage. Pastor Kum is on his usual preaching errand. Pastor Kum (Wearing an oversized suit and trouser. He is holding a bible in one hand and a big towel-like handkerchief in the other. From time to time, he wipes his face with the handkerchief). Halleluiah… oh… beloved I am speaking to somebody today… Halleluuuuiah. As I was walking here I encountered the Lord of host himself. I saw the heavens open and something, something in the form of manner fell in this market. There I knew that the coming of the president is bringing good luck to the people of this market. If you believe it shout “I receive it” (he receives an appreciable response from the market women). Today you shall experience bounty harvest, your cup will run over, you shall not suffer to touch the president clothes, you shall dine with kings and queens… (All these while the market women are jumping with joy at the prophesies). Halleluuuuiah…my brothers and sisters, if you are touched by the message then sow something in the house of the lord. Take some 10ghc, 20ghc, 50ghc…the bible says in Mark 17:10b that put the lord to a test, and see whether I the lord will not fulfil my promise. If you read further, the lord told Elijah, that if the people do not accept you then shake off the dust under your feet. Beloved in the lord, don’t deny yourself of the blessing of the lord. (He raises a song, some of the market women sing along. He moves from one shed to the other with his bible opened. The market women drop in their monies. Pastor Kum moves to Agbeko, a blind beggar and Owusu a crippled beggar) my brothers, do not be afraid to sow in the house of the lord. The bible says that those that don’t have the little shall be taken away from them. Your miracle is on the way. I 116 University of Ghana http://ugspace.ug.edu.gh tell you that in a year’s time, you shall see yourselves begging in America. The Lord shall elevate you from this poor market to the official beggars at the world trade centre. You shall rise on your two legs and your eyes will be opened, halleluiah. (Naa Ashorkor, whose shed is at the opposite end, shouts “amen” upon hearing the halleluiah call from Pastor Kum. Agbeko and Owusu reluctantly drop a few coins in Pastor Kum’s bible) Kwamaa enters; he is wretchedly dressed in an old and worn out woman’s clothes. He walks past Pastor Kum to Naa Ashorkor’s shed with an ice chest in front.) Naa Ashorkor: (Rudely) Hey… hey… leave my shed, no begging today. (Kwamaa brings out a coin in an attempt to pay, it is obvious he needs water).I said I am not sell today, don’t fine trouble this morin, leave my shed. (Pushes her) Kwamaa: I have been travelling for a long distance, I’m not a beggar, please find me some water to drink. Naa Ashorkor: Somebody is telling this dirty woman to leave my shed o, me is the only good salamitan inside the market? Back to sender, kεε mᴐ amε akε oba shi onaa mi. Coni: (Shouting) Eiiiii….who are speaking vernacular today. We are not are taking important decision that we are not speaking vernacular today? (To Leader) whoever we are caught speaking vernacular must pay. (Different responses from the market) Naa Ashorkor (To Kwamaa) Thanking your god today is president in coming, and we are not are speaking vernacular. So me promising I am not talking plenty plenty today because enguish is killing my throat. If you don’t want trouble catch you, you are leaving before I am opening my eyes. 117 University of Ghana http://ugspace.ug.edu.gh Leader: Naa Ashorkor, aba asem bein anorpey.You mustn’t destroying the beautiful energy we are have here today, (To Kwamaa) akatesia bra. (Kwame walks to the next shed where the Leader is seated. She hands him a cup of water) Who is you young lady? Kwamaa: I lived in this town long ago, I was born here but now I live in a faraway town, I have come back home in search of a job… (Pause) Madam, what is going on here, why the tensed atmosphere? Leader: You are not heard? There was going to be a political campaign. The President are visiting today, that is why we are wanting to put up our best, that’s why we have clear the market, we sack all mad people and collect all rubbish. Kwamaa: Why! Aren’t mad people part of the community? Leader: They are, but it is not speaking well of us… we’re going to be inside TV. Young woman, why you are speaking good good English but you are wearing dirty dress? (Teacher Abotsi walks in with a group of decently and neatly dressed pupil, each holding a Ghana flag. Teacher Abotsi conducts a short parade and arranges the pupils in a horse shoe formation across the stage.) Kwamaa: I have been travelling for a long distance. The school children… (Pause) are they meeting the president too? Leader: Yes, teacher Abotsi say they will stand and waving the president when he comes. 118 University of Ghana http://ugspace.ug.edu.gh Kwamaa: How long will they stand there? Is the sun not too hot for them? Leader: They will stand there all the time president is here… Kwamaa: Is that not a mistake of the past? To make school children stand in the scorching sun waiting to wave a president? Leader: See, mistake of past or no past, this children are waving the president (The siren of the police escort motorbike is heard from afar) Now, don’t asking too many questions, here (Gives him a cloth), cover yourself neatly and stays behind the group, enyε ᴐsreε sreε fo, nanso esε kro, we cannot affording to messing up this chance, the president must thinking we are good. The market women and men arrange themselves behind the school children. There is music and dancing. A group of dancers perform a short choreograph piece ushering in a set of well-dressed men. The school children wave their flags in the air as the men enter the stage. The market women give a shout of joy. The men move DL and climb onto a raised platform which is constructed specially for them. One of the men who seems to be the youngest and spokesperson of the group whispers a word into the ears of a middle aged man in his early sixties (Mr. President) who is standing directly behind him. They shake hands. The middle aged man moves forward and addresses the gathering. The drumming and dancing ends, there is dead silence. Mr President: I am grateful for the opportunity to address this august gathering. I thank all of you, each and every one, for coming in your numbers. This is great! It is imperative that the Aggressive Capitalist Party (ACP) wins this election again to continue the good governance and strong economic development associated with ACP rule. We, the ACP will continually give hope, trust and confidence to you in our government. We will have 119 University of Ghana http://ugspace.ug.edu.gh to introduce urgent policies that will put our young people to work. We are committed to building a new society of opportunities, by implementing policies that will favour the businesses of the aristocrats, and by employing the services of the grassroots, everyone will have the opportunity to better him or herself. That is what we mean when we say we want to build a property owning democracy.(There is loud applause from the crowd, some of the market women sing and dance in jubilation.) Teacher Abotsi: (Throwing his shoe against the President) Nonsense, nonsense, what do you people take us for (immediately the security crew of the president arrests him) leave me alone, (struggling) we are in democracy, freedom of speech, allow me. Mr President: Allow him, let him talk, young man I am listening. (Kwame finds his way forward.) What question do you have for me young man? Teacher Abotsi: How are the grassroots supposed to acquire their own property? Mr President: (Clears his throat) Good question young man. In the past, the leaders of our dear country committed to providing for everyone, a job and to every worker, security; to every family, a decent meal and a decent home. That is exactly what the ACP aims at. The grassroots cannot manage large businesses and properties, but they will be grateful to the aristocrats for at least a decent meal. Teacher Abotsi: Mr. President, sorry to say you have let out the part that gives every person, equal opportunity and social justice. Can your policies favour the grassroots directly? Mr President: (Whispers a word in the ears of a colleague) Who are you young man. 120 University of Ghana http://ugspace.ug.edu.gh Teacher Abotsi: I am Teacher Abotsi, the school headteacher, University graduate with a second class honors’ in Political Science. Mr President: (Laughs) Good. The ACP aims at identifying natural leaders like you who will liaise directly with government on behalf of the community. (To Teacher Abotsi) My men here will brief you. (He whispers something into the ears of two of his men. The two men accompanied Teacher Abotsi out. Mr. President continues his speech). In terms of transforming our economy, I have dedicated my destiny to making my leadership, the period during which our economy outshines in exportation of raw materials and retailer of cheap imported goods, which will create more job avenues. In my government, your farm produce will be exported to America. Crowd: (Jubilating) Heeii…. Mr President: Britain Crowd: Heeii… Mr President: China Crowd: Heee… Mr President: This is the strategic objective for which I shall be working in order to sustain prosperity for our people. The government of the Aggressive Capitalists shall work to increase per 121 University of Ghana http://ugspace.ug.edu.gh capita income, increase the Gross Domestic Product, decrease tariffs by 50%, and by the end of the first term there shall be a marginal decrease in inflation by at least 50%. (The campaign crew of the president starts clapping on this note. This forced the crowd to clap as well but hesitantly. There is a clear sign that the crowd is confused by the mention of the figures and the technical terms.) Coni: (Aside. To Dzifa who is happily clapping, imitating the campaign crew of the President) You are understanding that big big enguish? Dzifa: You are not understand President English? (Laughs. A group of people gather to hear Dzifa’s explanation). President is talk that he is increase gross domestic product. I am not understand gross well well. But domestic is home, product is the food we are sell, so domestic product is food in the house. President is increase all. (On this note the rest of the market men and women start clapping and jubilating) Mr President: Now I’ll give you the chance to ask questions Coni: Tafrεtsε!(Sarcastically) Mr. Plesident, we don’t understand big, big Enguish, and we don’t want understand, only big man and teacher Abotsi understand, so you decide whether intuation is high or low, a bird that is destiny to live will sure glow wings, yεn deε yε tim, se εye o, εnye o, εhᴐ ara na yε tiε41. But now that you bling yourself, we will like to tell you we our problem. (Clears throat) we need a signboard in this community. (Passionately) We want our name to reach Amelica, we want white man to bling us prenty food and money and take we our children to Amelica like Osagyefo Dr. Kwame Nkrumah and Dr Aggrey, or they should put babies in our stomach so we can giving birth to J. J. Rawlings. We are suffer in this town too much. (Different responses from the crowd) If we don’t get sign board, how can whiteman see that this is Ghana. White 41 Whether good or bad, we still live in this country 122 University of Ghana http://ugspace.ug.edu.gh man is reading, enyε Ghana ni a ᴐkasa kasa kwa a hwee nni akyiri42. If you give us signboard we will write… Dzifa: Welcome to Gana Small Boy: (Dressed in his school uniform) No teacher Abotsi say, Gana is Gateway so we write Gate way to Africa Naa Shokor: (Hitting the small boy on the head) Onyε, namᴐ ebi ojwεmᴐ? Coni: If you give us signboard, teacher Abotsi say we will appear inside TV and inside Millor Graphic. And whiteman will see us and come and take us photo. (At this point, Teacher Abotsi returns together with the two men from the campaign crew. This time, teacher Abotsi is dressed in a more decent attire but not to the standard of the politicians. He holds a car key in his hand, smiling.) Mr President: That is the spirit. We the ACP are promising you the biggest signboard. We shall also go further to invite white men who will come and live among you as one of you. We shall make sure you appear on TV, in the newspapers and on the internet on daily bases. Finally, the ACP is promising to build the biggest communication centre for this community so when you create acquaintances with the white men, you will be able to communicate with them when they travel back to their country. Crowd: (Applauding) Hey… Cornornorcornornor centre 42 Whitemen read a lot, unlike Ghanaian who only pride themselves in talking without an action. 123 University of Ghana http://ugspace.ug.edu.gh Mr President: But to make these dreams come true, you must ensure that the ACP continues its government, by guarding your own votes and that of others. The grassroots have been responsible for the choice of our candidates, and we believe the grassroots will be responsible for our victory. Remember that in times of despondency and hopelessness, the ACP lives to give hope. Thank you, long live ACP, long live Ghana. (Mr. President and his campaign crew exit. The crowd continues with drumming and dancing. GDP; High Lorri fare; High Inflation; High Electricity Bill; High Tariffs; High Water Bill; High Everything; High, high, high and high Kwamaa: (Climbs onto the podium) Stop it, this is insane, all you demand of your politicians is a signboard? Where are your hospitals, schools and roads? Have you thought about your sick children who die for lack of health care, what about the pregnant women who labour to death because the potholes on the road to the health centres are better described as manholes? What about the poor infrastructure in your schools, your market products which are hardly bought because there is no money in the system? Fight for better conditions. Shafika: (Convincingly) Eiiii… Allah come opening our eyes. It is true. Signboard alone no good. If we are know we are asking prenty prenty things. This woman are speaking true. (Moving to the side of Kwame) Better conritions, no more deaths Crowd: (Following Shafika) No more suffering, no more deaths. 124 University of Ghana http://ugspace.ug.edu.gh Kwamaa: Think about the future of your children Your priority must be given to economic and productive services. Social development must… Teacher Abotsi: (Standing at the opposite end of the stage with the market women in the middle and Kwame at the other side) Liar, Liar, pay no attention to this beggar. You heard the President, GDP is high, inflation is high, tariffs are high, that means the economy is good, very soon your children can travel to America, work as labourers in the big companies and factories, no longer as truck pushers and shoe makers, (calling) Ame…rica, Ame…rica Crowd: (In jubilation, moving to the side of Teacher Abotsi) Ame…rica, Ame…rica Kwamaa: Is that what you want for your children, I ask of you, are the suffering masses of Ghana going to stand for that? Shoeshine boys and factory hands? Crowd: No! Kwamaa: The dogs that eat the crumbs of the loaf under the table? Crowd: No! Kwame: No! No! No! Your ancestors suffered such situation so that you will enjoy the warmth of the day, and all you want is to relive those torturing moments? Fight against corruption. 125 University of Ghana http://ugspace.ug.edu.gh Crowd: (The crowd moving to the side of Kwame) Corruption! Kwamaa: Greed! Crowd: Greed! Kwamaa: Fight for development. Set yourselves up as an example and prove to the world that you are both capable and ready to put your country on the map, to hoist her flag and keep it flying. Teacher Abotsi: Shut up you beggar. Who are you to measure yourself against the nobles? Do not be deceived. Kwamaa: And why are you defending them? Or have they bought your conscience so soon? Moments ago you were fighting for the right of your people, why have you now suddenly turned into a housefly, eating and drinking the juice in the open sores on the bodies of your own people? Teacher Abotsi: Because I have discovered that the ACP stands for truth. They have the people at heart. Kwamaa: (Disappointed) Bribery and corruption, have eaten so much into the whole fabric of the society and these must be stamped out if we are to achieve any progress. 126 University of Ghana http://ugspace.ug.edu.gh Teacher Abotsi: This is to prove that the Aggressive Capitalist Party has the people at heart. (He takes a bundle of money out of his pocket and starts throwing it in the air. The crowd rushes to the centre.) Crowd: (Singing as they pick the money from the floor) We are the architects of the dead future We twist, we whine, and we shit We are the decomposer of the world We twist, we whine and we shit We are the cornerstone We twist, we whine and we shit. Pastor Kum: (Pastor Kum enters. He gives a loud shout that stops all noise on stage) Halleluiah… the bible says that 10% of all monies that come your way must come into the house of the Lord. Beloved… (At this point the market women get angry and pounce on him. Teacher Abotsi continues to throw money in the air) Black Out 127 University of Ghana http://ugspace.ug.edu.gh SCENE TWO At Daavi’s palm wine bar. The politicians are seated in a horseshoe formation at one side of the stage. Seated at the opposite end is Kwame. He is dressed in a tight ladies skirt and blouse. There is a bench with holes in it serving as a table on which the Politicians rest their calabashes. Between the Politicians and Kwame is Daavi, seated on a tree stump with a pot containing palm wine in front of her. Minister of Finance: That was an excellent speech Mr President; you exhibited the exact characteristics of a winning politician; (Imitating) a hoarse voice, awful presence, a crude comportment and dreadful impersonation of character. (They all laugh confidently) Minister of Agriculture: But for that foolish wretched half-baked vagabond who calls himself a graduate… Mr. President: That one is not a threat at all; actually we need people like him. The rule is, separate the seeds from the chaff, by getting all the fools (pointing to the audience) on your side, and you can be elected to anything, any…thing. Minister of Agriculture: Did you really mean all you said? The communication centre, internet… Mr. President: A politician never believes what he says; I was quite surprised to be taken at my word. (They all burst into laughter) Minister of Finance: Politics is really too serious to be left in the hands of politicians. (Taking note of Kwamaa, he whistles flirtingly and addresses Daavi sarcastically) What demon sits beside thee, the spirit of Adam is weak. (They all burst into laughter) 128 University of Ghana http://ugspace.ug.edu.gh Minister of Health: (Jokingly) Minister the minister of finance, chief operating officer of women. (They burst into laughter) Minister of Finance: (To Kwamaa) My dear, does your engine need any rehabilitation? Daavi: (Jokingly) Don’t be silly. This is my new sales girl; I encountered her in the market yesterday, she speaks and writes very well and analytical as well. After the rally, I stayed behind just to hear the voice of the people, the comments and insults. Then, I witnessed an interaction between her and the young man we recruited yesterday and I strongly believe we need to bring her to our side just like all the others. All: (Bursting into laughter) All the others Minister of Finance: (To Kwamaa) my dear, bring me a drink. (Laugh) Your presence alone is fulfilling. (He drops his hand around the waist of Kwamaa, who annoyingly throws his hands away) Wow…you’ve got quite a temper. (Laughs) That makes it even more interesting. (Clears his throat) On a serious note Mr. President, it’s about time cabinet meetings as this are accompanied with per diem, and clothing allowance. Minister of Education: Baaaaam Minister of Finance: Seeing this beauty in the house, I’ll need to look my best (laughs) Minister of Education: Baaaaam 129 University of Ghana http://ugspace.ug.edu.gh Mr. President: (Almost drunk) Good point, good point… Daavi: Shall we vote? Show by hand if you agree Minister of Education: Daavi, this is a unanimous vote, even the minority in parliament will not object to this (they all burst into laughter) Kwamaa: (To the politicians, uncontrollably) What! This is insane! (Shockingly the politicians rise from their seats, they all freeze. To the audience. He moves out of the Kwamaa character. He speaks and acts like Kwame) Per Diem! Never has this been truer to me than today. The people of this country have entrusted them with a duty, and upon how they carry out that duty will determine not only the fate of the people of this country but the fate of many other people throughout the whole of Africa. And all that is important to them is clothing allowance and per diem? This is incredible. (The politicians come back to life) Minister of Health: Did I hear her say this is insane? We the honourable honourables are insane? What! She must be fired immediately and jailed without trial. Minister of Finance: Come on, that’s rather too hush. Minister of Health: Don’t be blinded by your uncontrollable lust for women, she just insulted us. We the honourable honourables. She should be sacked. 130 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: No! Minister of Health: Yes! Minister of Finance: No! Minister of Health: Yes! Daavi: (Shouting) Stop! (To Kwamaa) I assume you are new so I will pardon your disrespect. (Rebuking Kwamaa)The honourable honourable here carry the burdens of this country. They deserve nothing but the best. Kwamaa: I am sorry madam, it will not happen again. Minister of Education: (To Kwamaa) Listen young lady, (clears his throat) we love this country and we definitely want the best for her. Clothing allowances and per diem will only motivate us to do more. Even our socialist opponents do not disagree with us on this note; in fact, this is the only issue on which the whole house came to a consensus, no dialectics. (There is dead silence. The atmosphere is tensed. Pastor Kum enters holding his bible and handkerchief) Pastor Kum: Halleluuuuiah! (Receives no response) Am I speaking to somebody today? Hahahaleluuuuuuuiah. Beloved in the Lord, the bible says that “forsake not the gathering of the brethren”. Halleluiah. As I was passing, the Holy Spirit laid it on me 131 University of Ghana http://ugspace.ug.edu.gh to enter this gathering and stir up the atmosphere, like Jesus did on that day when he turned water into wine. Minister of Finance: Good you came pastor Pastor Kum: (Now convinced that he is welcomed, he moves straight to sit by Mr. President). Look Mr. President, as I was on my way here, I received a prophesy from the Lord God of Host...(to Kwamaa) young lady hurry and get me a calabash…the Lord said, tell my son that I the God of Israel, Abraham and Jacob have, have, have…(at this point, Kwamaa is pouring palm wine in his calabash) just a minute Mr. President (standing) on the night when Christ was betrayed, he took the wine and said, this is blood, drink this in remembrance of me. (Laughs) It is good the honourable members of the country continue to remember the Lord like this… (Laughs) cheers my honourables. All: (After a brief pause) Cheeeers (They all burst into laughter) Pastor Kum: Ahhhaaa, Mr President, as I was saying, the Lord said to me, tell my son that I the God of Israel, Abraham and Jacob have, anointed and appointed him as president of this nation. Receive it my brother. Daavi: (Shouting) We receive it Minister of Agriculture: Now that we have received a confirmation from the pastor, shall we proceed? Daavi: Time is not on our side. Shall we proceed, Mr. President? 132 University of Ghana http://ugspace.ug.edu.gh Mr. President: (A brief pause) To the business of the day; the front page of today’s Daily Graphic reads; Gargantuan Squandering, Santa Claus in Town. (Still reading) When children take to fight, with either their mothers or fathers pursuing them or in some cases elderly people in the community, then it should give you an indication that someone has been naughty and more often than not, you can be sure it is the children who are. Minister of Finance: (Drops his calabash and spits out the palm wine in his mouth) That is it; they are using it against us, the socialist. Sharing money in public is never the best option. Minister of Education: Always jumping to conclusion. Let’s read the content first. Minister of Finance: What is there to read again, that statement is clear? First the heading “Gargantuan Squandering, Santa Claus in Town”, then, the issue of parents pursuing children, is it not obvious that they are the parents and we the children? In other words they have a reason to pursue us because we have been spending the country’s money recklessly. Minister of Agriculture: And what is there to prove that we spend the country’s money, any bank statement or figures? Minister of Finance: Please don’t be ridiculous; only yesterday the whole market was flooded with money after a political rally, our rally, the news is all over town. Mr President: That is true. We cannot give chances, election is close by. Quick let’s get to business, who plays which role. Daavi shall be the speaker as usual. (Daavi takes her seat and moves centre stage) 133 University of Ghana http://ugspace.ug.edu.gh Minister of Health: I shall represent the Socialist Decorated Party, S. D. P. Minister of Finance: No! I object to that, the last time you played the role of the S. D. P, (taking the newspaper) this is where it landed us. Minister of Agriculture: He is right; the Finance Minister is more analytical. Minister of Health: (Furious) I will not take that from you, I consider that an insult. I am going, I will not sit here and listen insults from you. Minister of Finance: Let him go. Minister of Education: (Preventing Minister of Health from leaving) It’s all right comrade. (To Daavi) Do something. Daavi: Order! In my position as the speaker, the mediator and owner of business, I rule that on no account should a member directly or figuratively address an opponent without seeking the necessary permission from the speaker of the house. Mr. President shall decide on who plays what role. Mr President: (Dropping his calabash) Considering the recent scandal, I suggest the Minister of Finance plays the S.D.P. and Minister of Health the Least Commoners Party, L.C.P. 134 University of Ghana http://ugspace.ug.edu.gh Minister of Education: I shall be the majority leader. Minister of Agriculture: And me, the minority leader. Daavi: (Pointing at a Batakari hanging on the wall) That is the costume for the SDP. The Minister of Finance wears the Batakari. The Minister of Health also takes off his suit, leaving his shirt lying on the trousers. Minister ofAgriculture also takes off his suit. They carry a bench and settle on the other side of Daavi. A podium is placed at the far end of the stage where the politician will stand and deliver their speeches). Everybody, take position, ready, action. The president shall present to the honourable house the State of the Nation’s Address. Mr President: (Moves down left) Madam Speaker, I have the honour to appear before this august house, to give the Honourable Members an account of the State of the Nation. Madam Speaker,the country has been doing progressively well under my watch, and enjoying tremendous goodwill both from within and from the international community, ha ha ha ha... Madam Speaker, permit me to call my cabinet ministers to give account of their various ministries. (Walks to his seat) Pastor Kum: Wonderful, wonderful speech Mr. President. Let us drink in remembrance of the Lord… (Laughs) Daavi: Let’s have the Minister of Education 135 University of Ghana http://ugspace.ug.edu.gh Minister of Education: (Moves to the podium) Madam Speaker, in my administration, government launched a program to rehabilitate broken down educational institutions from basic through secondary to tertiary level. (Laughs) Madam Speaker I assure the house that the 10% of these contracts shall be shared among the honourable honourables later. (Laughs confidently) Pastor Kum: Halleluiah… Beloved, let us not forget the 10% of the 10% that belongs to the lord Minister of Health: That is not realistic. You can’t talk about sharing 10% in parliament. What will the press and the public think of us? Minister of Finance: (Furious) This is just a waste of time. For heaven’s sake, this is an imaginary parliament; the more exaggerated an issue, the better. That is the purpose of this exercise, to test the possible augmentative points of the socialist. Minister of Health: But… Daavi: No buts. (To the Minister of Education) You may proceed. Minister of Education: Madam Speaker, other projects which have been implemented include the Capitation Grant and the School Feeding Program. Ladies and Gentlemen, I must confess that the interest and pockets of the honourable members have been considered before allocating funds for these projects. Thank You. (He starts clapping, the whole house joins, except Kwamaa who is quite surprised.) 136 University of Ghana http://ugspace.ug.edu.gh Daavi: To the house, any comments, questions or suggestions? Minister of Agriculture: Madam Speaker, I suggest that from now onwards, the 10% should be calculated and added to the budget before approval, this will make way for increment, and also since it is a known secret that the manager in charge will also take 10% besides the contractor’s own greedy theft, it will be wise we add our 10% at source so some of the money still remain for the execution of duty. Minister of Health: Madam Speaker, I second the honourable member, but I maintain that in addition to adding the 10% at source, we should create a special budget for maintenance, that will create room for more 10 percents. All: More 10 percents. (Laughs) Daavi: Notion accepted, any further comments, questions or suggestions? Kwamaa: Is that all education has been reduced to? Contracts and 10 percent? Politicians: (Surprisingly) What?! (They all freeze) Kwamaa: (Moves to the character Kwame. To the audience) This country is passing through a very testing time, a time when we need the services of all men of goodwill. I had laid down plans for the younger generation, many of which were job creation avenues. Where is my enviable fleet of ships that formed the black star line? 137 University of Ghana http://ugspace.ug.edu.gh Pastor Kum: (In a state of trace) Ohooooooooooooo Kwamaa: Where is the Tema Meridian Hotel which was built as an edifice of the Industrial City? Pastor Kum: Now accommodating the homeless and a hideout for criminals; an eye sore to the City. (He Laugh) Kwamaa: Where is the Kumasi City Hotel which was an embodiment of the beauty of the Garden City? Pastor Kum: Overgrown with weed. Well, part of it is being renovated. Kwamaa: Where is Ghana Airways, which was the pride of the West African sub region? Pastor Kum: Mismanaged! Spoilt! And the parts sold! Obviously by them! (Laugh) Kwamaa: There is totally no justification for the collapse of all these state properties. Pastor Kum: Baaam 138 University of Ghana http://ugspace.ug.edu.gh Minister of Education: (Back to life) Enough, young lady, enough! Mind you, you were employed as a sales girl not a commentator. Minister of Health: That is why she should be sacked with immediate effect. Minister of Finance: And I say she will not be sacked. Kwamaa: Sorry sir, I couldn’t help it. Minister of Education: Just shut up! And retire to your seat. Remember you are a sales girl, sales girl. Minister of Health: Let us sack her Minister of Finance: No! Minister of Health: Yes! Minister of Finance: No! Minister of Health: Yes! 139 University of Ghana http://ugspace.ug.edu.gh Daavi: Shut up you two. You are bigger than this. (There is a brief pause, tempers are high. Pastor Kum takes the opportunity) Pastor Kum: (Raises a song) My brothers and sisters in the lord, the bible says in the book of… Daavi: Shut up Pastor Kum: (Ignores Daavi) I the book of the gospel according to… Daavi: Shut up I say. Minister of Agriculture: (Brief pause) Guess we can proceed. Madam Speaker, I will like to know what provisions have been made to develop the future ruling administration of this noble country. Minister of Education: Oh, I’m pleased to announce that special provisions have been made to send the children of the honourable members overseas where they will enjoy a better educational atmosphere. This will help maintain the class difference in the country. Minister of Health: Madam Speaker I move that on maintaining the class, some of us whose family name is still lost in the background should be given a preferential treatment so as to bring our names to the limelight. 140 University of Ghana http://ugspace.ug.edu.gh Minister of Education: Call to order Madam Speaker, we are in government and I believe my colleague here is not bargaining for the same portion as the party in government. Minister of Health: Madam Speaker, the point is my party might never come to power again, not until the next “Kwame the Visionary” arrives. We need our children to help reform the party. Minister of Education: (Laughs) What makes you think we the ACP will create room for competition. Minister of Finance: (Angry) And what makes you think the Socialist Decorated Party will relax in its campaign against the ACP, it is obvious our socialist brother (pointing at the Health, who is representing the L.C.P ) will be on our side as we march to victory come this December. Minister of Health: (To the Finance Minister) Do not call us your brothers, you are like decorated cakes, you have a socialist icing alright but God knows what the main cake is. Worst of all you have succeeded in stealing all our brains, our noble cowardly men, the big men of our party. The Loud Commoner Party lacks the men because of you, you SDP. (They all burst into laughter) Minister of Education: (To Health) That’s the spirit brother, welcome to ACP. Minister of Health: Shut up! Just shut up! Both of you are a bunch of greedy bastards, castrated pigs. 141 University of Ghana http://ugspace.ug.edu.gh Mr. President: (Dropping his calabash) At least it is better to be greedy and castrated but good looking, than to be skinny, bonny and flat like a refugee ground. It is either Captain Mosquito or Constable Cricket (everybody starts laughing except Kwamaa) Kwamaa: God bless our home land Ghana, and make this nation free from greedy bastards, dinning and wining over the country’s wealth… Daavi: (The laughter seizes, to Kwamaa) Did I hear you say something? No comments, no comments from you, these are honourables, not market women. Kwamaa: Me? Comment? No! Only praying a harmless prayer. Daavi: Praying! Nice! Tell me, does it look like we are at church? Or do we look like Kumasi Prophet, Pastor Mensah or Arch Bishop Williams? Kwamaa: No! Kwame Satana… (Pause) Sorry mum, I promise never to pray again. Daavi: (Pause, dead silence. Daavi gives Kwame a strong unpleasant stare) Shall we proceed with Agriculture? Minister of Agriculture: (Puts on his suit and moves down left, the Minister of Education assumes the role of the Minority Leader) Mr Speaker, agriculture forms the biggest part of the private sector and employs the largest population in the rural area. So far, more than 3,000 tractors have been sold to farmers at highly subsidized rates. 142 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: Call to order Madam Speaker, I have strong evidence that these tractors have not been sold to the farmers on the farms but to the parliamentary farmers, some of whom are seated among us. The poor farmers still have to pay large sums of money to these greedy business farmers just to get their lands ploughed. Minister of Agriculture: Point of correction, small scale irrigation projects are also being promoted, especially in the northern parts of the country. Minister of Finance: Sorry, Madam Speaker, I think my question was not addressed by the honourable member. Minister of Education: Madam speaker, to cut matters short, all we’re saying is that, the country’s wealth must be shared equally among its citizen. Our capitalist counterparts are sitting on the businesses; some of these tractors must also be made available to us, the socialists too, so we too can be in business. Mr. President: Madam speaker, it is the turn of the capitalist, these greedy socialist have forcefully ruled us for several years, then pretentiously supported the move for democracy whilst using dubious means to steal the votes. This placed them in government for several more years before the capitalist intervention. All those years, the country’s money remained hidden in their bedrooms. Fellow capitalist, abi na me dey lie? All: Noooo 143 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: Madam Speaker that is a false allegation made by the honourable President. There is no evidence that we shared the country’s wealth during our government. This can be proven by our present assets. Our President lives in an old building, which the jealous enemy set on fire. And we humble honourables are only living on our poor salaries, since the enemy came to power, kickbacks, hweeee, 10%, hweeee. Madam Speaker, even here in the house, their calabashes seem bigger and fuller. Daavi: They are in government; your turn of potting the belly will soon come. Over ruled, honourable, you may proceed. Kwamaa: Heavens! All: Enough is enough (They all freeze) Kwamaa: (To the audience) Potting the belly they say? These are the people who claim they know best. Meanwhile, your celebrated highways, which have been decorated with the white house images is an extension of the motorway planned and designed by me. Funny! Even after all these years, your roads are not to the standard of my motorway. Tell me! What is new about the Capitation Grant which was not in my Free Compulsory Education plan? The Bui hydro-electric project which was captured in my 7 years developmental plan is also now being celebrated. The National Health Insurance Scheme was inspired by my Free Health Care. The Metro Mass Transport of the day is to the Opera Square of the bygone days. I left a legacy of companies and factories but several years of self-rule, still under the oppressive character of the colonialist. The Telecommunication Company, which saved the economy for many years, is now controlled by some foreigners. Privatization you call it, it’s a pity. 144 University of Ghana http://ugspace.ug.edu.gh Daavi: (Back to life. To Kwamaa) Young lady, this is your last warning. (To Minister of Agriculture) Honourable, you may proceed. Minister of Agriculture: Madam Speaker, the agricultural sector is attracting some large scale commercial farmers, foreign investors in particular. The target is to attain a million tons in the next couple of years. Madam Speaker, I rest my case. Daavi: Next! Minister of Health. Minister of Health: (Moves to the podium, the Minister of Agriculture assumes his position) Madam Speaker, integral to Human Resource Development Goals is a robust health delivery program. Madam Speaker, the relentless fight against the spread of HIV/AIDS resulted in a modest reduction from 2.6% prevalence level to 2.59999%. At the moment, all Ministers, MP, DCEs, MCEs and all government appointees are embarking on a voluntary counselling session, called operation “live by example”. This is guided by a set of rules. Rule number one, all honourable members must seek health care abroad. In that case, no citizen will get to know the actual health status of any honourable. Madam Speaker, this will not only help curb the truth that some honourables are living with HIV, but also to cut down on the rumour about honourable members peddling and taking in drugs. Madam speaker, to the citizens, all honourables die of cancer, it can be hair cancer, HIV cancer, gonorrhoea cancer or drug cancer, whatever the case may be, ‘all cancer be cancer’. Minister of Finance: But for the fact that I live in an HIV prone environment where AIDS is an air borne disease, I’d never have agreed to this. Because I am a born again Christian and I don’t condone evil. Drug peddling is at the highest level of corruption, and even if they 145 University of Ghana http://ugspace.ug.edu.gh succeed, they don’t only use the money to campaign against us but enjoy a good family Drug Dinner, encouraging their children to knock down our noble men. Minister of Education: Call to order, Madam Speaker! The honourable member is figuratively addressing an opponent without seeking the necessary permission from the speaker of the house. Minister of Finance: Sorry Madam Speaker that was an ‘all die be die’ statement Minister of Health: Rule number two, honourable members who wish to take concubines must do so either within the immediate environment, like their secretaries and personal assistants, or go very far away from home, a foreign land is preferable. Madam Speaker, let me use this platform to vindicate our able President and Ministers who have been accused of sleeping with ladies whilst on diplomatic missions. They actually were embarking on operation “live by example”, by impregnating these women they are only helping them to know their HIV status. (Laughs) Minister of Agriculture: For me the rule is the further you go the safer. They are all the same. See, the difference between her Royal Highness Queen Ohene and the Makola woman is paper, but the value... Politicians: …is the same (They burst into laughter) Kwamaa: (Dropping her head in frustration) Christ Jesus! Mr President and Minister of Health: We are drunk with greed. 146 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: We are drunk with power. Minister of Education: We are drunk with corruption All: We are drunk Daavi: With madness Pastor Kum: Beloved in the Lord, before we get so drunk, let us not forget to sow a seed in the house of the lord. My brothers and sister in the lord, dip your hands into your pockets, take out some 10Ghc, 20Ghc, 50Ghc and give unto the Lord. Remember God loves a cheerful giver. (He raises a song) Black Out 147 University of Ghana http://ugspace.ug.edu.gh SCENE THREE In the underworld. The stage is bare and dark. Kwame drops onto the stage from the ceiling. He is wearing a black tunic. Hurriedly, he is in search of something. Kwame: (After a moment of search)Where are you folks, show your faces, where are you hiding? Have you suddenly grown mute or has the season of the day suddenly drowned your angry voices in the celebrative tunnels of your children, smashing your faces with its apex and crippling your legs with its weight. Brave men of our time, have you taken to your hills for fear of the future? Show your faces if there be any guts left in you… (The other five figures walk onto the stage each coming from a different angle) Danquah: Disturb us not Kwame, for our lips are permanently sealed, our tongues are lost in the wilderness of anger; our legs are broken by the ditch in their hearts. Ofori-Atta: Though we had an idea of the trash in their homes, never have we thought of the heap of dung in their hearts. Nii Lamptey: The situation in the country now is disheartening. Disheartening to see our children seize every opportunity to steal the country’s wealth, promoting low productivity by valuing the unskilled over the proficient because they belong to the same political group. Ebenezer: They have eyes but they can’t see. They have noses but they can’t smell the odour in their breath. They know not the destructive mask on their faces, or the lying tongue in their mouths. 148 University of Ghana http://ugspace.ug.edu.gh Akufo: They rape their joy and good living, bruising the door way with the laws they create. But just like the mouse who licks the tip of the finger smelling with food at night, they ease the pain with a drop of honey on their tongue. Kwame: There is much left undone, and there is much more left to do. The task I have taken upon myself is a huge one. And I pray to God daily to grant me the heart to keep up the patience to the end. For the voice of the people is like a knife in the ribs, just listen. (The six figures freeze on stage. The voice of a little school girl is heard, she move centre stage as she recites the poem below.) Broken Dreams The night divorced my dream, married my day, And never cared about my unfinished thoughts of life. To me, life’s dreams are like mirages on the desert, In your sleep they are shiny silvers, In your wake, they turn to rusted metals Every morning I see my Mama, carry heavy loads on her head, Walking a distance, close to half a mile, With baby Nissi strapped on her back, just to feed my sisters and me. After the day’s work, she comes home with a broken waist and twisted neck. When the pain gets severe, she abuses the drug. She cares not about the ‘book-long’ people who talk about drug abuse. To her, it is worth paying a cedi, Than picking a hospital card with a health insurance that hardly works. My Mama is a ‘Kaya Yo’. She carries the burden of the society. Though she earns no respect from the society, I am so proud of her. I know that all the frail and weak people who make Mama carry their burdens for a fee, secretly wished they were as strong as she is. 149 University of Ghana http://ugspace.ug.edu.gh How many of you bald heads and fat bellies could survive just a minute in my Mama’s condition. If I take your Benz cars and suits from you, you will turn to nothing. Your confidence will evaporate, your hands will tremble and shiver. Your legs will be crippled by the hardship of the day. You, who cannot carry your own burdens, are the champions of our world. You make the law and interpret them, You design the value system to suit yourselves You take large chunks of the national wealth for yourselves But my mama keeps us going. She cleans your ‘shit’ and washes your dirt. She takes all your insults and humiliations. Feels your pains and cry your cries for you. But you are so blind, you can’t see. You justify your privileged positions. You boast of your education and forget the infrastructure was put up by a mason You have forgotten the role illiterate cocoa farmers played in making education possible. You simply ignore the sacrifices of my mama Your world is beautiful, but My world is my dreams, and My dreams are broken. Nii Lampey: Enough of that Kwame, the elders say that a man cries in his heart, but the storm in my heart is flooding in my eyes with tears… Akufo: We need to find a solution to this problem; but where that solution lies is a puzzle only the gods can unravel. 150 University of Ghana http://ugspace.ug.edu.gh Kwame: No! We don’t need the gods in solving this problem. The solution lies with us, with Africa. Ofori-Atta: Shut up Kwame… Kwame: No, you shut up, our people crippled our economy, but their system killed it. Never can we regain consciousness standing alone, we need our African brothers. I believe strongly that with the deep-rooted wisdom and dignity, the innate respect for human lives, the intense humanity that is our heritage, the African race, united under one federal government, will emerge not as just another world bloc to flaunt it’s wealth and strength, but as a Great Power whose greatness is indestructible because it is built not on fear, envy and suspicion, nor won at the expense of others, but founded on hope, trust, friendship and directed to the good of all mankind. Danquah: (Mockingly) Kwame the Osagyefo, African president, President for life, isn’t it obvious your ideology on United African is highly unrealistic and unacceptable by the populace? (A brief Pause. Regretfully) if only we listened to you, if only we saw the sense in your United Africa then, it would have been a different story. But to us, your ideas were only the desires of a man who yearns for power, African President, President for life. Kwame: The bone of contention here is not who becomes president, but how to find an African solution to the African problem. How many languages, ethnicity or tribes do we have in Ghana alone? If it is able to work under one country called Ghana, how can’t it work under the United Nations of African? This is the voice of the West (The six figures freeze on stage. The voice of a white man is heard reciting the poem below as he moves centre stage) 151 University of Ghana http://ugspace.ug.edu.gh Ethics of the game You boast of having your song, after we have taken your voice, You boast of having your home, after we have taken your house. But you can never boast of having your sight, after we have taken your eyes, Neither can you boast of having your mind, after we have taken your brain. We are crafty, you know, because you have the right adjectives to describe us Some call us ‘ayevu’, meaning ‘a deceptive dog’. Other call us ‘abrᴐ ni’ meaning ‘a fraudulent person’ And we dance to the tune; oppression. We package your minds as birthday presents We shut your eyes to the reality of the day. We call your artifacts fetish, yet you worship ours Though we expose our gymnastics to your professors and book longs We cut off their tongues by the structures we created We helped you to destroy the leaders that could have led you there. We capitalize on their loop holes and caused you to stand against them. And when they are far gone, we entreat you to shower praise words on them. We even honoured some with doctorate degrees during their last days. We gave you physical freedom In exchange for your minds; neocolonialism you call it. Although most of you Africans are poor, Your continent is potentially extremely rich Your resources, are being exploited with our capital, to enrich our investors. Your minerals are precious, your forests; natural, and your cash crops; true. Funny, right? Upon all these, we give you aids, but with conditions that put strain on your economy. Under the auspices of generosity, you are forever thankful to us We allow you to run your own affairs And the result is violence, bloodshed and tribal strife. We shall never create room for competition We shall continue to oppress you We shall continue to make you believe black is dirty We shall forever be the gods, who can never be blamed. 152 University of Ghana http://ugspace.ug.edu.gh Kwame: Let us not regard this as a shadowy dream of a visionary, but a practical proposition, which the people of Africa can, and should, translate into reality. Akufo: Let us find solace in our doctors and professors, for the book holds the truth. Let as channel our efforts through them let them diagnose the solution to our problems. (Shrew walks in wearing her mask) Kwame: If the professors indeed hold the truth, then why did they burn my books, why did they destroy the legacy I left for the future generation, why, why… (Shrew enters wearing her mask. She recites the poem below) Intellectual Stupidity Waste not your breath and energy, Intellectualism today, is like chasing the wind In search of an absent lover Lost years ago by the flipping of the pages of the book They flash out heavy and entangled words, Their mouths are filled with endless rhetoric speeches That are entangled in trunk-less arguments. Through those opaque glasses, they diagnose the problems of the world Offering wordy solutions to each passing fly, Providing theoretical answers to every rhetoric question Yet they cannot read the time on another’s watch Because they busied themselves arrogantly admiring their own disciplines Though they live on the same compound, They know not the colour of each other’s skin. Whilst chasing the wind ahead of them, The ones behind throw garbage in their homes. 153 University of Ghana http://ugspace.ug.edu.gh Their children have turned prey to the hunter’s game, Because they are stuck at the cross road of home and the Atlantic. Wake up, you stupid intellectuals, before the rising sun wipes you off Like the morning dew that is settled on fresh cocoyam leafs Jump into the oceans and clean the garbage in your thought, then go, Put your homes in order, for that is the only beauty in intellectualism. Shrew: (To Kwame) Now go, go son. It is too soon to be tired. For the greater surprises lie ahead of thee. Go before the sun sets. Go, go, go… (Kwame runs off the stage. The lights go off) Black Out 154 University of Ghana http://ugspace.ug.edu.gh SCENE FOUR On stage is Kwamaa, cleaning the calabashes and putting things in order. He is still disguised in female clothes. Kwamaa: One will wonder what sort of a country we live in, here I am cleaning the mess the politicians left behind. That is how it is; the politicians create the mess, the civilians clean it up. I thought this whole multi-party thing is meant to check corruption, promote good governance and help utilize the diversity in views to the advantage of this country. It looks like winning an election in this country does not depend on how many people vote for you, but how many votes you’re able to steal. So from the scratch, the best thieves get into power. Come to think of it, anyone who is able to get himself elected as president should on no account be allowed to do the job. The kind of politics they play now is all a matter of postponing decisions and judgments until they are no longer relevant. (Minister of Health enter. He moves quietly behind Kwamaa without him noticing. He stands and admires Kwamaa seductively) For all you know this whole democracy thing is not our style (Pause; to the audience) No, no, not that long faces, I am not going to propose a one party state, but let’s find something African, something Ghanaian, yes… I know it seems impossible now, but come on, just look around you, look at the other African countries, the blacks are already destroying their own country which they fought several years for. Everything has changed; people now take their comedians seriously and the politicians for a joke. We are… (Health tickles Kwame) Kwamaa: (Angry) Goodness, you scared me. And what are you doing here? Finally coming to drive me out? Minister of Health: Come on, you know I can’t do that. Kwamaa: (Rudely) How can I help you? 155 University of Ghana http://ugspace.ug.edu.gh Minister of Health: You see my dear; don’t give a thought to what happened earlier, it was just a strategy. Kwamaa: Of course yes, a strategy to throw me out, so you can employ your niece. Minister of Health: Not at all, a strategy to get there first before the others (Laughs) I believe you understand. You see, if I pretend I hate you, nobody will suspect my emotional feelings towards you. (Laughs) Now, come my dear, I can’t wait to touch that smooth skin of yours. (Holds Kwamaa’s buttocks) Kwamaa: (Moving away) Don’t be silly. Minister of Health: Never mind, I am already silly. Your breasts seem firm. Kwamaa: (Adjusting his fake breasts)I know, thank you. Minister of Health: And your… round buttocks, so appetizing. Kwamaa: Tell me what government is doing about the trash in this country? Minister of Health: Never mind about government. Look, I am suffering, can’t get it to sleep. (Starts unzipping his trousers) 156 University of Ghana http://ugspace.ug.edu.gh Kwamaa: (Uncomfortable) This country needs dedicated leaders. Minister of Health: I have dedicated myself to you. Come, hold me. (A car horn is heard. Kwamaa looks through the window) Kwamaa: It is the Finance Minister. Minister of Health: Oh goodness, not him. What do I do now (nervous) and this thing too will not sleep. Kwamaa: I can help you. Minister of Health: How? Kwamaa: Hide under the bench. Minister of Health: Bench? For Christ sake, I am an honourable. Kwamaa: Well you have no choice now. (Pushes him under the bench. Finance Minister enters) Minister of Finance: Blessed are the weak in spirit, for they shall see the kingdom of God. This kingdom is beautiful, guess it might be really expensive. 157 University of Ghana http://ugspace.ug.edu.gh Kwamaa: Who is offering something for sale here, have you got no shame? Minister of Finance: I am the Honourable Finance Minister, the controller of all the cash; you must consider yourself really lucky. Kwamaa: Have you for once thought about the mess in the country, development is slow, corruption everywhere, competent men sacrificed for incompetent politicians? It’s a shame, shame… Minister of Finance: If only the people will realize the good work of our government and continually vote us into power, we shall change this country for good. The socialist ideologies are totally absurd. They are the party of government activism, the party that says government can make you richer, taller, and smarter. Kwamaa: The enemy isn’t socialism, neither is it capitalism. The enemy is you, who seize every opportunity to steal the country’s wealth, who will prize the unskilled over the proficient because you either belong to the same political group or of the same ethnicity, you, who will not continue the good work of your predecessor because of self- promotion and victimization of one another, and you, who will condemn, suppress and intimidate one who will not condone to your evil desires, you are the enemy. Minister of Finance: Look sweetheart (touching her on the shoulders) worry not about this country. It is big enough to take care of herself. Let’s talk of how I can get to the kingdom first ahead of the others. 158 University of Ghana http://ugspace.ug.edu.gh Kwamaa: Don’t touch me Minister of Finance: You see how I defended you today? It is all because of the emotionally unbalanced crocodile I feel inside me. See, the Minister of Health is a silly person. Kwamaa: I know, he told me? Minister of Finance: I’m glad he did. He is just jealous of me because of my reputation with the daughters of Eve. He is so ugly, his teeth is crooked like the letter ‘W”, some going east, some west and the others north and south. Have you noticed his big nose and bad breath? Kwamaa: Yes I do, because he was here before you (Minister of Health, signals Kwame to be quiet. He is still under the table.) Minister of Finance: Who? Kwamaa: Never mind Minister of Finance: Has Mr. President been here already? Kwamaa: Why will he? Any problem? 159 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: I know he will soon be here. You don’t have to give him attention. He has a bad odour. He is fat and stingy. Kwamaa: Keep the advice to yourself. Minister of Finance: Don’t be rude. Do you prefer five star or seven star hotels? Kwamaa: I prefer a corruption free society. Minister of Finance: Look here young woman, will you humble yourself or I take you by force (He starts pursuing Kwame) Minister of Health: (Coming out from the hide out) Leave her alone, leave her alone. Minister of Finance: Who are you to command me? (Brief pause) what were you doing under the bench? Minister of Health: (Clears his throat) I was looking for my shoes… what are you doing here? Minister of Finance: So you have been under the bench all this while. (Confused) That means you heard it all? Minister of Health: And all you said about Mr President as well. He must hear this. 160 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: No don’t go, I can sign a check, one thousand… Minister of Health: Five thousand. Minister of Finance: Fool! That is too much for a simple insult. Minister of Health: I’m going. Minister of Finance: One thousand-five hundred. No! Two thousand. Minister of Health: Five thousand and that’s final. Minister of Finance: Ok, five thousand. Minister of Health: Deal, five thousand. Minister of Finance: Well you can leave now. Minister of Health: Additional one thousand cedis. 161 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: For what? Minister of Health: For leaving. Minister of Finance: You are crazy. Minister of Health: (Moves to the bench) Then I will stay. Minister of Finance: Ok, additional one thousand. Minister of Health: Good! I will send my driver over later in the day. Minister of Finance: (Rudely) You can leave now. (Minister of Health exists). Back to you my dear, do you know you’re beautiful? (Minister of Health enter, he clears his throat) What again? Minister of Health: I came to pick my shoes… (To Kwamaa sarcastically) my dear, try and keep the door closed. (Stretches his hands to shake Finance) It has been nice doing business with you. Minister of Finance: (Ignoring his hand) Just leave. (Health exits. He runs into Pastor Kum at the entrance) Kwame: Did you just offer him 6000.00? Tax payer money? 162 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: (Touching Kwamaa’s breast)You are beautiful Pastor Kum: (Clears his throat) Beloved in the Lord, the bible tells us that thou shall not commit adultery, but I tell you that whosoever, shall look at a woman lustfully has already committed adultery in his heart. Minister of Finance: Pastor Kum, the pastor of all generations (pulls him aside and clears his throat) I think you are misunderstanding something here. I was telling the young lady that this country is indeed a beautiful place (to Kwamaa) right…? Pastor Kum: Oh, Honourable, forgive preaching. I didn’t know this wrong assumption of mine was directed to you. In fact (to the audience) my brothers and sisters in the lord, the bible says in the book of Romans 4:8, that “Happy is the person whose sins, the Lord will not keep account of”… David was a… Minister of Finance: Pastor Kum… let us not bother our audience with the sins God will not keep account of. Take this money and quickly sow a seed in the house of the Lord Pastor Kum: (Laughs) Impressive my son. Blessed is the man… Minister of Finance: (Pushing Pastor Kum)…who acts quickly according to the will of the Lord Pastor Kum: (Moving to the bench to take a seat). Halleluiah, we should never forget the lords Passover. (To Kwamaa) Bring some wine my dear… 163 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: (Pulling him out) Unfortunately Pastor, today is not a Passover day. (Minister of Health enters) Minister of Health: Sorry Pastor Kum, I came to ask you a rather personal question, please look carefully (He possess as if to take a picture) am I ugly? Pastor Kum: Not at all, you have been fearfully created in the image of God Minister of Health: Good! Do my teeth look crooked like the letter ‘W”, some going east, some west and the others north and south? Pastor Kum: (Speaking in tongues) yakamahamakayaboch… the voice of the people is the voice of God. Why not ask the congregation… Minister of Health: Thank you pastor, I will see you later (exits) Pastor Kum (Following him out) Not so fast honourable, sow a seed in the house of the lord Minister of Finance: As I was saying before those two rudely interrupted, I am flabbergasted by your beauty, your firm breasts, sexy eyes…come my dear, let your soft body melt my heart and your… (Minister of Health enters) Minister of Health: Pastor Kum, Pastor Kum, do I have a big nose and bad breath? 164 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: (Frustrated) ooooooooooooooooooooh Minister of Health: Where is Pastor Kum? Minister of Finance: Obviously not here Minister of Health: (Calling out) Pastor Kum…, Pastor Kum…, (exits) Minister of Finance: (To Kwamaa) Come my dear, sit on my lapse. (Singing) my Cherie, my lover, it is money, I’ll give you… Kwamaa: I can’t believe you just offered Six Thousand Cedis good tax payer money as bribe. (Frustrated. He moves out of the Kwamaa character) I know you; your father was a good man, though we differ in ideas, I don’t doubt his integrity, he loves this country as much as I do, he never chased the wind in search of power and wealth, like you do, (pause) anyway, I cannot vouch on that but at least he did not create wealth in a day. He must be sad wherever he is now, because you have become sole owners of the country’s wealth, you own the majority shares in the industries and you control your offices the way it will benefit you and your family… Minister of Finance: Quiet young lady, you know nothing about me or my father. My father dined and fed with the big men, he was among the freedom fighters. You are just a small girl; all you know about him is his edited biography. (Brief pause) wait a minute, I know that voice… 165 University of Ghana http://ugspace.ug.edu.gh Kwamaa: (Changes his voice, touches him on the shoulder and speaks seductively and persuasively) Honourable…you see… Minister of Finance: (Moving away) Now I will not tolerate any more insults form you. Some of you are so arrogant; I wonder where you get this smelly guts, yes we create wealth, but do we not leave the money in the system, the one who feeds the child is not prevented from licking the hand. Kwamaa: (Still being persuasive) This is not licking the hand; this is eating the child’s food. God bless our homeland. Minister of Finance: Amen! But for the fact that I was recently made a deacon in church, I would never have forgiven you. Now name your price, because as you can see, the prisoner (pointing at his penis) is ready to be imprisoned, will the door of the cell refuse a prisoner smelling with cash? Kwamaa: (Laughs)You? A Deacon? Oh, in desperation, I turned to the church, in search of hope and truth, But the church slapped me in the face. Blackout! Tears of destruction The Blood of Jesus ceases to flow It is clotted with darkness and desire for money Only the charismatic breadwinners are the fitters They boast and swank of their position The Church needs divine purification. 166 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: Children are indeed myopic, only the nearest seems meaningful. What is faith without action? The church too like fame, and wealth. Under the auspices of evangelism, they identify the men of action. For fifteen years, I’ve been there, unnoticed, unseen, unrecognized. But one year in government, now a Deacon, Youth President, Men’s leader, even Women’s leader. Kwamaa: Stupid! Stupid! You’re like a vulture, you know no shame, your home is garbage, and you eat garbage. Minister of Finance: (Laughs) I am not surprised, that is how they are, all of them; they run their mouth from the beginning and in no time they open their doors too wide even when you need the friction. Come to think of it, this method is old fashioned, you must be colloquial yourself. Averagely, the “modern” will neither run their mouths nor stay mute, the new trend is, create an acquaintance, it could be a big investment. They start by saying, “you’re interesting” when you haven’t said anything, then next is “will like to have you as a friend” a friend who is allowed entrance to any part of the palace. Kwamaa: Well then, go get them, the modern girls. If you have nothing else to say, please excuse me I have business to attend to. Minister of Finance: See, I have a record of always breaking the grounds first, and I don’t want to give that chance out. I promise to turn your world around. Kwamaa: (Laughs) Promises! Politicians are the same all over. They promise to build a bridge even where there is no river. 167 University of Ghana http://ugspace.ug.edu.gh Minister of Finance: It is true. That ninety percent of the politicians give the other ten percent of us bad reputation. Kwamaa: It was vice versa in those days, the ninety percent rather over shadow the evil of the ten percent. I have maintained and I shall continue to maintain that I will fight against bribery and corruption whenever I find it. Wherever I find it, I will expose it, even if it is within the cabinet. I’ll ensure good governance with a corruption free society. Change must start from you. That is my price. Minister of Finance: (Laughs) A woman talking about integrity, is it not for the same women we steal the country’s wealth? See, the reason why we have few female politicians is that it is too much trouble to wear double make-up. Mind you young lady, an honest politician is one who, when bought, stays bought. Do not deceive yourself. Kwamaa: (Turning away) It’s a pity you've got to vote for someone. Shameful. Minister of Finance: I have had enough of you young lady! So arrogant, passionate and conceited. (Forcefully gives Kwamaa a passionate kiss) Kwamaa: (Spitting) Disgusting, disgusting, can’t you see I’m not of the kind? Minister of Finance: (Laughs) If persuasion fails, force is applied (Kwame is still cleaning his lips), word of advice young lady, those lips are rather too dry and flaky. But for the fact that I hardly mind the body, I would have accused you of impersonation. 168 University of Ghana http://ugspace.ug.edu.gh Kwamaa: And I will accuse you for sexual harassment. Minister of Finance: You’re young indeed. That will just add up to our political debates. Mind you, it is said that politicians look for trouble anywhere, find it everywhere and at every time, diagnose it incorrectly, and apply the wrong remedies. Kwamaa: Let’s see how this turns out (shows him a voice recorder) Minister of Finance: When the ground is hot, only the feet suffers, let’s see where power lies 169 University of Ghana http://ugspace.ug.edu.gh SCENE FIVE At the market square, the sun is hot. The stage is busy, people going about their business. There are two beggars standing DL of the stage. One is singing with the other supporting the music with a hand-made musical instrument. Agbeko: (Holding a bowl in one hand and a stick in the other singing. After a while he pauses and rubs his finger inside his bowl.) Owusu, you are sure you are not stolen my money Owusu: Agbeko, Agbeko hwε yie! Na wo pε biribi ahu a wubenya. You are not a blind man? Agbeko: Nye nku gba ta nye asi wo me ga dᴐ wᴐm o haa? I hearing two metal money dey drop inside my bowl, but now, I am touching only one. Owusu: You are watching your mouth Agbeko, sε wo anhwε wo ho yie a…! Hmmm… Agbeko: What you can do Owusu, I am standing my leg on stone, make you no try me. Owusu: (Laugh) ho, a sε nea wodi kan too yε no mpo faa me tiri so, ammᴐ me. Agbeko: This your government people are bad la, we are suffer too much la. Me alone, I am making sure that they are not winning again. Owusu: What this government is do you? What at all in do you people? 170 University of Ghana http://ugspace.ug.edu.gh Agbeko: Couldn’t you see? Bible is say it o, they having eyes but they are not see. Owusu you come this market the time sun is not come out this morning, now children close from school, how much money you get? Owusu: That one too be government in problem? Agbeko: Yes Owusu, that one too is government in problem. Money no dey for pocket. The time wey my government come top, people give us money plenty plenty. But now, even one Ghana is problem. Owusu: You are foolish man Agbeko. Wo ne wo nkrofoᴐ nyinaa yε nkwasiafoᴐ. Agbeko: You are insult me Owusu, (calling for attention) somebody is coming to save this pozo man o, I am killing him, he is insult my party. He is say, we SDP people are all fools. (Agbeko and Owusu begin to fight which results the whole market in a fight between the SDP supporters and the ACP supporters. The Market Leader enters with Kwamaa.) Leader: Abadzi na ᴐrisi wᴐ ha yi? Me wᴐ tum dε me sack hom nyinara fi guam ha. Hom nyim dε, ᴐnsε dε obiara ko wᴐ guam ha. Koo: (An ‘adieye’ who has been sitting unconcerned all this while). They are fight because of politics. Politics is not put food for the table but they are kill themselves because of government. 171 University of Ghana http://ugspace.ug.edu.gh Kwamaa: Your politicians are getting fat by day over the country’s wealth and you are here killing yourselves over them. They cheat you and feed on your taxes. Tribalism and violence must cease to be political factors in our national life. Violence must be completely rejected. Shafika: Afrakumah, you are hear the President the time he is come here? He said we are protecting our vote and everybody vote. I cannot standing here and watching that beggar insult me my party. No way! Walai ta lai! (Different responses coming from the crowd.) Leader: Quiet! Quiet everybody. Whilst I am leave my shop to fight for the whole community, you are here fight among yourselves. (Coni enters holding a newspaper) Coni: (Shouting and jubilating) Yεn nsa ka o, yεn nsa ka, yεn nso yεanya signboard nobi wᴐ yεn krom ha. (The whole market joins in jubilating) Leader: That is why we have to look ourselves well, because our buttocks can come inside TV. Ne dεm nti wᴐ yε hwε yεn ho yie, ᴐsan dε yεbotom aba TV dỏ anytime biara. We should be jubilate not fight. Owusu: Ahhhh, this government are good too much. (Laughs) Smallest time, then some people go dey start begging me for money. Leader: (To Owusu) Stop being foolish. The signboard is give us by this lady (pointing at Kwamaa), this is the young lady who is arrive here the day the president come. She was look dirty. She is work at parliament now; see she even put us in newspaper yesterday. 172 University of Ghana http://ugspace.ug.edu.gh (She shows them the front page of a newspaper. There is jubilation everywhere. Naa Shorkor brings a seat from her shop. The women decorate the seat with beautiful materials from their shops. They offer Kwamaa many gifts as they sing and dance) Naa Ashorkor: I know it, (to Kwame) since you are come to this town, I know you are good. Koo: Eiiiii… women, Were you not the same person who is call her a beggar? Naa Ashorkor: Ah mi, nᴐ ni mi kεε lε bε ji akε mi hᴐᴐ ni mεnε. Koo: Women! (Pause) Men are strange but woman is strange pass man. Leader: Eh eh eh, just zip your mouth, were you not there when we are need signboard in this town. Where are the men, don’t you sit and doing nothing about our situation, even the time president is coming, we the women do everything, where are the men? Now, one woman alone has provide us with signboard and you are sit there talking. When was the last time you are even paid your dues in this market? Koo: I am decided I am not pay anymore dues in this market. Is the land for you and your father? Leader: Hey, abomination, you insult me honourable the leader of market. Fellow market administrators, can you hear him? (Silence everywhere) It is not human beings I talk to? 173 University of Ghana http://ugspace.ug.edu.gh Shafika: What you are say? Leader: I ask whether you hear him. Coni: Yes, we are hear him, what? Leader: Ehe? Won’t you say anything? Coni: What you want us to say? Naa Ashorkor: Mi, mawie. It is not true what he said? Is the market you and your father property? Since you are became the leader the time this president come government, you have always dey bully us too much. Shafika: We are give you money before we bring our selling table forward a little. Naa Ashorkor: Look inside this market, your store is bigger than we all our own. You have big store with plenty things inside. As for us, the time wey we sell everything kraa, we are not get money to buy food. Braimah: Some of us, we dey sell you your things. But you go make sure you press our eyes take all our profit. Today you for give us account o! 174 University of Ghana http://ugspace.ug.edu.gh All: Yes, you for give us account today, today… Leader: Boneayεfoᴐ! Ungrateful beings! You, Shafika, did I not give you money from the market account? Did you pay? And Naa Ashorkor, you are remember I catch you when you are add plenty money to the budget the time we are prepare for the president’s visit. You beg me not to tell the other people and I never did. Naa Ashorkor: But I paid you for that. Leader: And you Braimah, did I not took your son Teacher Abotsi to the Director so he can become headteacher when there are better people, and did I not always cover his bad things so that he is not sacked? And now that the presidents is giving him a special assignment with plenty money, did you bother to come say thank you. (They all start turning away) now continue, demand account from me (Dead silence) Kwamaa: (Still sitting in the chair) Yes I demand an account from you. Leader: O yeah? Do you want to know what I am used the money for? I am giving it to your people, I am chop it with them, and together we are destroy the economy. Koo: Make we choose another leader, this woman is cheat us too much. Let us make her (pointing to Kwamaa) our new leader. 175 University of Ghana http://ugspace.ug.edu.gh All: Yes, we want her (Pointing at Kwamaa.) Kwamaa: No I shall be no leader. Leaders may come and go; they may rise and fall; but the people live on forever. You need a leader that loves you and your community. Choose a leader based on integrity and determination to serve you. I came here not too long ago, you know nothing about me; do not judge me by the signboard I provided. Koo: Ah… you are talk sense paaa... We cannot choose a leader because he is buying us something or because he is dress well. It is good we are choose a good heart, we are choose the one we know. Kwamaa: Any suggestions? Coni: Me, I say, Aunty Shafika shall be President, because long time she is plesident, she do work well Owusu: Me no, me pε sε Aunty Afrakumah kor soara di Market Leader dwumedie Koo: Me I am suggest Braimah. Kwamaa: Now all those who support Braimah show by hand. (They raised up their hands, Kwame counts) Shafika (he counts the hands) and Afrakumah. (He counts again. Braimah wins the election.) That makes Braimah our new market leader. (There is an applause from the crowd) 176 University of Ghana http://ugspace.ug.edu.gh Braimah: (He steps out feeling proud and confident) I am thank all of you for making me market leader, and I am pray to the Almighty Allah, the all merciful, to bring me plenty humility in my heart and making me honesty. Now you (pointing at one of the men) you are go to the District Director and making sure my son Teacher Abotsi is not headteacher again. You are tell him, that I, leader inside market said he is look for good person, gooder than my son to be headteacher. Now, Naa Ashorkor and Hajia Shafika shall be pay the money they owe we the market people. Because Naa Ashorkor is do bad thing, we are collect the treasurer position from her. She is theft and fraud. I am suggest Sister Dzifa as the new treasurer. Is there any other suggestion? (Silence) We are vote then? All who are in support of Dzifa show by hand? (Dzifa wins the election). So from now on Sister Dzifa is become our treasurer. Teacher Abotsi: (Coming from afar) Arrest her; she is a traitor, see what the paper says, and is this not her face? Naa Ashorkor: (Takes the paper) eh… is this mirror graphic I am holding, signboard hi nεε akpa. (Pause) See her face, yes arrest her. Teacher Abotsi: This woman is a traitor, since she arrived in this community; it has been one trouble or the other. Leader: It is the truth; it is been quarrel upon quarrel here, all day. Teacher Abotsi: There was a quarrel at parliament because of her; she also threatened the Finance Minister… 177 University of Ghana http://ugspace.ug.edu.gh Naa Ashorkor: And even inside the market here, this woman is cause a lot of trouble. We are live peacefully in this market before she is arriving. Right now she make market to choose a new leader, she make market people collect treasurer from me. She even make your own father enemy against you. Shafika: This woman is good to us. She is gave us a signboard and put as in mirror graphic Teacher Abotsi: That is a camouflage. This is the same way the slave trade started. Let’s beat her (The crowd rushes on Kwamaa, and started beating her. People hit her with all sort of materials. Shrew enters) Shrew: Beware, Beware, Beware Children of the present I can see the sky fall And the moon crash Soon you shall harvest tears From the shadows of your past. Leader: That is a trick to save her. Let’s beat her, and strip her naked (The crowd rushes on him again. A group of men rushed onto the stage) Men: Stop! Stop! That is Nkrumah, Osagyefo Dr. Kwame Nkrumah. The President wants him alive. 178 University of Ghana http://ugspace.ug.edu.gh All: Kwame Nkrumah. Shafika: (Kneeling by him) I warned you but you are not listen. Shrew: Noble men of our land come, Come and witness for yourself The fall of the big tree Our saviour the tree is dying, Dying in our own hands, We are the killers of our fate Our plight is by our own decision. He came disguised, for he knows his people hate truth. But without truth, we remain in darkness. Shafika: Let’s change his dress, let’s make him the Osagyefo he is Kwame: No, I want to die a woman, and when I’m already gone burry me as you would a woman, for when I return again to this land of my mothers, I will come, no longer as a man but as a woman. A woman of dignity and discipline, a woman of strong character and courage, a woman with passion and affection for the country and people. Now let the living go and put the pieces together. Choose men of integrity as leaders. Let the living find themselves in the structures they’ve created. That way they can amend where necessary. Go; go fast before the structures modify you. (Nkrumah dies. The lights go dim. A dirge is heard. The women are swimming in a pool of tears. They adorn the corpse with expensive jewels) 179 University of Ghana http://ugspace.ug.edu.gh Shrew: Come you nobles of the underworld, come and justify the return. Where is Nii Lamptey. Nii Lamptey: Today is not the time for looking back, or for being sentimental. This is the time for looking forward, with faith and high hope. A time for action and reaction. To create a gallery of good will, exhibiting the faith and will to complete what Nkrumah in his disguised body has just begun. Shrew: Where is he who spent his life time fighting the first born, providing defense for his opponents? Where is Danquah the trusted friend of the CIA? Come and explain why several years down the lane Ghana still holds on to the spine of the first born. Danquah: Enough of that old one. This is a memorable day, a day that serves to remind you, seated here today of the grim tasks that lie ahead of you. A day that fills you with the determination to attack those duties with full vigor. Always remember to sustain the good advice and blessing that has been showered on you today. Take heed to the council of the years, let the wisdom of the ancestors shape you. Shrew: It is in preparation for the rainy season that the ant labours in the dry season. So is the struggle of the firstborn; to free his family from bondage. Come Ebenezer, come and talk sense into the heads of your children Ebenezer: To you the watchmen of the land, it is said that man’s dearest treasure is life and that life comes never but once. I say to you, to fulfill the joy of living, is to live a life dedicated to service. A service to mankind. A service to your home. Wake up from your slumber of greed, love for power and money. Guard your home with fear and tremble. Pluck out the darkness of the night, and restore the brightness of the day. Let your ways 180 University of Ghana http://ugspace.ug.edu.gh be crystal clear with deep love for the people and the land that which Nkrumah stood for. Shrew: Who says that the European colonial enterprise was for good? Who says that African unity is an impossible factor? Who says that the greener pastures lies on the white land? Let that person raise up his hand now and defend it. What! Are you blind? Akufo! If your heart is sad as mine, then come, come justify his return Akufo: To you who have the privilege to effect change, do so selflessly and with a transparent mind. Apply your knowledge in the home, and resist from building a foreign empire that crashes the walls of your house, feed on your mother’s breast, rape your sisters and capture your brothers as slaves. Rather, employ your critical mind of objectivity, and with the armor of knowledge embedded in you, attack the bats that settle on your roof. Remove the cobwebs’ that trap your progress. But before then, jump into the river Jordan and purify your minds, souls and bodies. For there is no change, unless you live it. Shrew: What is left to do now? Ofori-Atta: Now, let the dead take care of the dead, so the living can face the life ahead of them. Let them manure every root of development; uproot those of transgression and retrogression, pruning out the undesired parts, and taming out the corrupt and threatening. Let the living face life with the aggression to promote development and progress. If Nkrumah demanded self-government now from the colonialist and got it, then all people of Ghana should demand total economic freedom now from our own black people without fear. (A dirge is heard. The five figures of the underworld carry the body of Nkrumah out of the stage.) 181 University of Ghana http://ugspace.ug.edu.gh Shrew: The goose that lays the golden egg of prosperity and progress, Never lives to taste how sweet it is Children of the day, no different from trees and stars Let your roots sink deep and deeper like the Baobab tree Let your stars boast in the presence of the sun But let this not blind you to the virtues of life For hidden in the heroism of life, is the dishonesty of the chameleon, The storming salty streaming sweats of the day With many broken and unfinished dreams of the night But in all, be true to yourself Boast with the fact, stripping naked the sham Children of the day, I beseech you to take up your canvas, And repaint your world. Use bright and shinning colours Paint a new world of truth, but not the truth of Awoonor’s river birds Who came asking to build their nests in our trees But a solid African truth built in a green valley of value For truth is Beauty, and that Beauty lies in the world Pastor Kum: Beloved in the Lord, the bible say in the book of… (At this point, the whole crowd gets frustrated and chases Pastor Kum out of the stage leaving only Shrew behind) Shrew: Indeed, Nkrumah never dies (Lights go off) The End 182 University of Ghana http://ugspace.ug.edu.gh 3. MEMO From: Dzidudu Darkey-Mensah, (MFA Playwriting Student) To: All Lecturers of the Theatre Arts Department CC: Prof. Martin Owusu (Supervisor) and Mr. Africanus Aveh (HOD) Date: 16th April 2012 Subject: Play Reading As part of the requirement of the MFA program, I will be organizing a play reading which is in partial fulfilment of the degree in Playwriting. The program will take place after the colloquium on Tuesday April 17 at the Drama Studio. The details of the program are as follow: Title of Play: The Return of Nkrumah Date: Tuesday, April 17, 2012 Time: 6pm Venue: Drama Studio Thank you 183 University of Ghana http://ugspace.ug.edu.gh REFERENCES Etherton, M. (1982). The Development of African Drama. South Africa: Hutchinson Group (SA) (Pty) Ltd. Hubner, Z. 1992. Theatre & Politics. Ed. and trans. Jadwiga Kosicka. Evaston, Illinois: Northwestern University Press. Szanto, G. H. 1978. Theatre & propaganda. Austin: University of Texas Press Basuki R. (2004), Brecht’s Epic Theatre as a Modern Avant-Garde and its Influence on Postmodern Theatre/Drama, http://www.kata.petra.ac.id/index.php/ing/article/download/15490/15482 , 20/01/2012, GMT 16:16. Brecht in Basuki R. (2004), Brecht’s Epic Theatre as a Modern Avant-Garde and its Influence on Postmodern Theatre/Drama, http://www.kata.petra.ac.id/index.php/ing/article/download/15490/15482 , 20/01/2012, GMT 16:16. Akorede Y. in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan—Nigeria. Gibbs R. W Jr. (1994), The Poetics of Mind, Figurative thought, language, and understanding, Cambridge University Press, Cambridge. Rulewioz W.(1973), Some Modern Theories of Poetic Drama, http://www.ifa.amu.edu.pl/sap/files/5/15_rulewioz.pdf, 04/12/2013, GMT 15:41. Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria. Achebe in Malomo J. and Gbilekaa S. (1993), Theatre and Politics in Nigeria, Caltop Publications (Nigeria) Limited, Ibadan – Nigeria. Fischer in Szanto G. H.(1978), Threatre & Propaganda, University of Texas Press, Austin. 184 University of Ghana http://ugspace.ug.edu.gh Billington M, (2015), The Rise and Shine of Comrade Fiasco Review-fear and loathing in Zimbabwean prison, http://www.theguardian.com/stage/2015/mar/03/the-rise-and- shine-of-comrade-fiasco-review-gate-london. 7/4/2016, GMT 22:21. McNulty, E. (2011), Before the Law(s): Wole Soyinka’s Death and the King’s Horseman and the Passages of “Bare Life”, St Patrick's College, Dublin City University, http://postcolonial.org/index.php/pct/article/viewFile/1284/1212 8/4/2016, GMT 17:30. Soyinka, W. (2002), Death and the King's Horseman, Norton Press. Soyinka, W. (1976), “The Fourth Stage.” Myth, Literature and the African World. Cambridge: Cambridge UP. See R. (2006) Death and the King's HorsemanReview, A Curtain Up DC Reviewhttp://johnvreeke.com/deathandkingshorseman/ 8/4/2016, GMT 13:20. Ajidahun C.O (2013), Metaphoric Topicality in Femi Osofisan’s Drama, Advances in Literary Study 2013. Vol.1, http://file.scirp.org/pdf/ALS_2013012316471229.pdf 8/4/2016, GMT 13:41 Adeyemi, S. (2011),Once Upon Four Robbers: The Magic of Subversion, Mosuro Publishers, Ibadan Deandrea P. (2002), Fertile Crossings; Metamorphoses of Genre in Anglophone West African Literature, Centro Piemontese di Studi Africani (Palazzo Chiablese, Piazza San Giovanni 2, 10121 Turin, Italy Osofisan Femi, (2001), Insidious Treason, oponifa publishers, Lagos. Patton, M.C. (2002) Qualitative Research and Evolution Methods (3rded). Thousand Oaks, CA: Sage Publications. Smiley, S. (1971). Playwriting: The Structure of Action. Englewood Cliffs, NJ: Prentice-Hall, Inc. 185 University of Ghana http://ugspace.ug.edu.gh Klinger J., (1993), Methodology for play writing, A dissertation in Fine Arts submitted to the Graduate Faculty of Texas Tech University in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD). Approved. 186 University of Ghana http://ugspace.ug.edu.gh BIBLIOGRAPHY Abdallah, M. B, (1993), Land of Million Magicians, Woeli Publishing Services Aidoo, A. A. (1965). The Dilemma of a Ghost. Accra: Sedco Publishing Ltd. Ajibade, Y. (2001). Mokai. Ibadan: Y-Books. Appiah-Adjei, The Tears of Lucifer, (Unpublished) Appiah-Adjei, Atobra, (Unpublished) Arhin, K. (1993). The Life and Work of Kwame Nkrumah. Accra: Sedco Publishing Ltd. Asare Y. (2006), Ananse in the Land of Idiots, Study Ghana Foundation. Ata Aidoo A. (2003), Anowa, Pearson Education, Limited Berg, B.L. Qualitative Research Methods for the Social Sciences. Needham Heights MA. Allyn and Bacon Clark, J. P. (1964). 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