Analysis of Efua Sutherland’s The Marriage of Anansewa”

Synopsis

The play is a comedy that satirizes the greed surrounding marriage in post-colonial Ghana. Filled with humor, it highlights the absurdity of monetizing marriage, with Ananse, the protagonist, embodying this greed. The play also explores how the conflicts unfold and are resolved in a comedic way. Ananse is guilty of exploiting his daughter, Anansewa, for wealth by using her beauty to attract wealthy suitors.

The setting is post-colonial Ghana, a time when modern culture was starting to influence society. Ananse’s home is described as bare, containing only a small table and chair, reflecting his simple, though manipulative, nature.

The plot centers around Ananse’s inability to pay for his daughter’s school fees at E.P.’s Secretarial School. In response, he devises a plan to exchange her beauty for wealth. Ananse organizes a photoshoot of Anansewa and embarks on a journey to select the wealthiest men for her. He arranges for her to be advertised as a bride in letters sent to wealthy chiefs. Upon his return, Ananse uses money from one of the chiefs, who is interested in marrying Anansewa, to pay her school fees.

Trouble arises when the chiefs begin sending messages, announcing their intention to present the traditional head-drink and formally ask for Anansewa’s hand in marriage. With multiple suitors offering gifts, Ananse finds himself in a dilemma and must come up with a plan to avoid the impending chaos.

On the day of the marriage, Ananse’s wife, Aya, and his aunt, Ekuwa, are present for the ceremony. In a panic, Ananse devises a plan to have Anansewa pretend to be dead to thwart the suitors’ visits. Christie, who hopes to marry Ananse herself, helps him carry out the scheme. Ananse tricks Aya and Ekuwa into leaving the house, allowing him to proceed with the plan.

As the chiefs arrive one by one, bringing gifts and condolence messages, their genuine affection for Anansewa becomes apparent. In the end, Ananse realizes that the Chief-Who-Is-Chief is the most suitable match for his daughter, and Anansewa has already developed a liking for him. The play concludes with the resolution of the marriage, offering a comedic yet critical reflection on the commercialization of marriage and the greed that accompanies it.

Characters/Characterization

• Ananse: The protagonist of the play and father to Anansewa. Unable to pay for his daughter’s school fees, Ananse devises a plan to sell his daughter’s beauty to wealthy suitors. He arranges for a photoshoot of Anansewa and sends her pictures to potential suitors. The money he receives from one of the chiefs helps pay for her school fees. When multiple chiefs show interest in his daughter, Ananse concocts a scheme to make Anansewa play dead in front of their messengers. Ultimately, he chooses Chief-Who-Is-Chief to marry his daughter. Ananse is a cunning and resourceful character, using his wit to navigate tricky situations.

• Anansewa: Ananse’s beautiful daughter. At first, Anansewa is opposed to her father’s plan, especially when she learns that he wants her to marry an older man. However, she eventually develops feelings for Chief-Who-Is-Chief and agrees to the plan to pretend to be dead in front of the chiefs’ messengers. In the end, Ananse allows her to marry Chief-Who-Is-Chief, the man she has grown to like.

• Christie: A fashionable woman who is romantically interested in Ananse. Christie agrees to help Ananse with his plan, hoping that it will lead to her becoming his wife. She plays a key role in dressing Anansewa for the ceremony and helping to deceive the chiefs’ messengers. Christie, along with other girls, contributes gifts to Anansewa, playing her part in the deception.

• Property Man: Responsible for handing out props and other items needed for the play.

• Post Office Crew: The workers at the post office who handle and deliver the letters sent by Ananse.

• Postman: The individual who delivers the letters to the intended recipients.

• Sapaase Messengers: Two matronly women who deliver messages from the chief of Sapaase.

• Aya: Ananse’s mother, who is present during the marriage preparations but is eventually tricked by Ananse in his plan.

• Ekuwa: Ananse’s aunt, also present for the ceremony. She is similarly deceived by Ananse’s actions.

• Girls: A group of young women around Anansewa’s age, who assist in the wedding preparations.

• Two Women: The women who sing the dirge (mourning song) as part of the ceremony.

• Chief-Who-Is-Chief’s Messenger: The messenger who delivers messages from Chief-Who-Is-Chief.

• Akwasi and Akosua: A young couple who are part of the broader social context of the play.

This cast of characters, each with their distinct traits and roles, helps to drive the comedy and satire of the play, which critiques the commodification of marriage and the lengths to which people will go for personal gain.

Themes

• Greed and Discontentment: The theme of greed and discontentment is evident in Ananse’s actions. Dissatisfied with his poor financial situation, he decides to exploit his daughter’s marriage for personal gain. Ananse introduces Anansewa to four wealthy chiefs, extorting money from them in the hope of improving his own life and that of his daughter. However, his greed leads to complications when all the chiefs schedule their own marriage proceedings. Ananse responds by using further deception and lies to manipulate the situation to his advantage.

• Obtaining Through Tricks and Deception: Ananse uses deception throughout the play to achieve his goals. He tricks the four suitors into believing that Anansewa will marry each of them, allowing him to collect gifts and money from them. He also deceives the suitors into thinking that Anansewa has died, further profiting from their visits to pay their respects. Through lies and manipulation, Ananse secures material gain, illustrating the play’s critique of exploitation.

• The Value of an Educated Woman in Marriage: Anansewa’s beauty is not the only factor that makes her a desirable bride. Her education adds to her value, making her more attractive to potential suitors. One of these suitors, Togbe Klu Iv, even intends to use Anansewa’s education to further his business interests. This highlights the social expectation that a woman’s worth in marriage is often linked to her physical appearance and education.

• Patriarchal Domination and Manipulation: Ananse’s control over the events in the play reflects the theme of patriarchal domination. As the father, he holds the power to dictate his daughter’s marriage, her choices, and her actions. Ananse manipulates not only his daughter but also other women in the play, including Aya, Ekuwa, and Christie, to serve his own interests. His authority over them is reinforced by the patriarchal structure, which grants him ultimate control.

• Test of True Love: The theme of love is explored through Ananse’s manipulation of Anansewa’s pretend death. By staging this event, Ananse tests the suitors’ commitment to his daughter. It is through this test that Ananse discovers that Chief-Who-Is-Chief is the only suitor who genuinely loves Anansewa, highlighting the difference between superficial interest and true affection.

Other Themes in the play include:

• Monetization of Marriage: The commodification of marriage is a central theme, as Ananse treats the union of his daughter as a transaction, exchanging her for money and gifts.

• Survival: Ananse’s actions are driven by his need to survive in a society where wealth and social status are highly valued.

• Culture Clash: The clash between traditional values and modern influences in post-colonial Ghana is subtly portrayed in the play.

• Matchmaking: The theme of matchmaking underscores Ananse’s attempts to control his daughter’s marriage, orchestrating it for his own benefit rather than out of genuine concern for her happiness.

These themes combine to create a satirical critique of societal values, particularly the commercialization of marriage, patriarchal control, and the role of women in post-colonial Ghanaian society.
Style and Technique/Literary Devices

• Language/Diction: The play is written in clear and accessible postcolonial English. Its style is influenced by “Anansesem,” a traditional storytelling art form of the Akan-speaking people of Ghana. The language and overall style are drawn from the rich traditions of Ghanaian theatre, blending modern English with cultural storytelling techniques to create an engaging experience for the audience.

• Structure: The play is divided into four acts, each characterized by flowing dialogue interspersed with songs, mimes, and dances. This structure not only adds rhythm and energy to the performance but also highlights the traditional elements of Ghanaian theatre.

• Satire: The playwright uses satire to critique individuals and parents who exploit their children for personal gain, as seen in the character of Ananse. Through Ananse’s actions, the play mocks the commodification of marriage, particularly the exploitation of daughters for wealth and status.

• The Spider’s Web: A screen shaped like a spider’s web is used throughout the play to represent Ananse, the spider, who traps others in his schemes. This web serves as a symbolic backdrop for Ananse’s manipulative behavior:

• When Ananse is about to trap a character, the web screen is placed behind them.

• He withdraws behind the web screen when preparing to spin his deceitful plans.

• If his plans begin to unravel, he hides behind the web to reflect and come up with a solution.

• The Use of Music and Dance: The play is deeply rooted in African cultural traditions, with music and dance enriching its atmosphere. Musical interludes, particularly the Mboguo, are used frequently throughout the play, giving it the feel of a music drama. Music both opens and closes the play, enhancing its African cultural background and making it a more immersive experience.

• Humor: As a comedy, the play incorporates humor to entertain and engage the audience. Visual gags, like the property man handing props to actors, and the exaggerated, crafty energy of Ananse as he executes his schemes, provide comedic moments throughout the play. The humor lightens the satirical commentary, making the critique of greed and manipulation more accessible.

• Play-Within-the-Play: This device is used to emphasize the importance of custom and tradition in marriage. The interaction between Akwasi and Akosua serves as a reminder that until a suitor places the traditional head-drink for his bride-to-be, he has no claim over her. This subplot underscores the cultural rituals that govern relationships and marriage.

• Audience Participation: While the audience does not engage directly in the dialogue or actions of the play, the actors acknowledge their presence. Ananse, for example, addresses the audience with rhetorical questions at the beginning of the play, creating a sense of interaction and inviting the audience to become part of the experience. This subtle engagement keeps the audience involved in the unfolding drama.

These stylistic elements combine to create a lively, culturally rich performance that critiques societal issues, particularly the commodification of marriage, while keeping the audience entertained through humor, music, and dynamic visual techniques.

Written by Obed Yaw Agyei