American Journal of Social Sciences, Arts and Literature

Vol. 1, No. 4, April 2014, pp. 1 - 8, e-ISSN: 2334 - 0037

Available online at http://ajssal.com/

Research article

THEATRE AND SOCIAL CHANGE:

REASSERTING TRADITIONAL VALUES
THROUGH THEATRE: THE ROLE OF KOBINA
SEKYI

Samuel Manaseh Yirenkyi

(Lecturer)
Department of Theatre Arts, University of Education, Winneba

Tel: +233(0)244216623, E-mail: [email protected]

Ernest Kwasi Amponsah

(Lecturer)
Department of Theatre Arts, University of Education, Winneba

Tel: +233(0)202224434, E-mail: [email protected]

[email protected]

This work is licensed under a Creative Commons Attribution 4.0 International License.

______________________________________________________________________________

Abstract

The culture of a people is supposed to identify them as a unique group of people and therefore needs to be regarded
and protected with all the people‟s might, will as well as resources and everything they have. This paper explores
how Africans (Ghanaians) always revere and hold in the highest esteem that which is from the colonizer (Western
World) as opposed to theirs. Through the spectrum of the playwright, Kobina Sekyi, one of Ghana‟s premiere
writers, an attempt is made to analyse and interpret his play The Blinkards as a base look at this phenomenon of
“Africaness Basterdisation” as a choice as opposed to heeding to call for National Self Assertion. A case will be
made to back tress the point that Theatre/Drama has the potency to positively affect Social Change.
Copyright © AJSSAL, all rights reserved.

Keywords: culture, Kobina Sekyi, African, colonialism, independence, Blinkards, Basterdisation

_____________________________________________________________________________________________

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American Journal of Social Sciences, Arts and Literature
Vol. 1, No. 4, April 2014, pp. 1 - 8, e-ISSN: 2334 - 0037
Available online at http://ajssal.com/

Introduction
During the era of Colonialism, the colonial masters made every effort for the Africans to believe that everything
about them was evil. This made the Africans, especially the elites, portray the foreign “components” (dressing,
eating, talking, accent etc) as that would define and determine the status of a human being. Kobina Sekyi described
in certain quarters as a doyen of Ghanaian theatre, emerged in the era of asserting nationalism through his plays,
demystifying this bastardization and delineating the search for cultural identity and nationalistic spirit. This article
discusses culture, the development of drama in Ghana and then takes an analytical look at “The Blinkards” – a play
by Kobina Sekyi, that addresses the effect of drama on social change.

Culture in View
The issue of culture has always been an area of interest to many scholars. In sociology economics, literature,
anthropology, politics and anthropology. Examining the various definitions by most scholars in the field of
academia, culture is seen as the basis of man‟s life in any society. Ironically, this aspect of African life in general
and Ghanaian society in particular is what colonial masters have successfully rubbished for his economic gain. The
result of this is the hybridization process that subverts traditional cultural values for foreign practices.
Geetz (1973), in defining culture says much about its important place in the life of a people. He defines it as:

“A system of inherited conceptions expressed in symbolic forms by means of which men communicate, perpetuate
and develop their knowledge about attitude towards life”.

Culture determines so many things, our outlook about life, our views about virtues and vices, how we see ourselves
and how other people see us and most importantly how we develop our knowledge about life. Therefore, our life
depends on culture. This explains the reason why there is always psychic disruption in the life of a people when any
changes occur in their culture. This is because the ideology of the people, that is act” (“any set of shared
assumptions and beliefs seen in some sense, governing how people think and act (Milner, 1996) would have been
altered. This according to Said (1974) is what happened in nations under colonial rule. He argues that the west has
used this ploy to rubbish the culture of others, a feat they achieved through western education and religious teaching.
Most scholars see colonialism as a deadly virus that has destroyed many traditional values and has violently
disrupted indigenous African ways of life. The result of socio-cultural changes among these nations is psychic
disruption of those nations that experienced colonialism.
According to Amponsah (2008),

“Colonialism fractured our culture and arts. Africans were made to see their cultural practices as fetish, uncivilized
and damaging”.

This was reaffirmed by Mohammed Abdallah in a draft cultural policy of Ghana document, when he states,
Colonialism, consisted of the total denial of our history, the denigration of our system of values and the
replacement of the essential religious social political and economic structures, carefully fashioned to
ensure the perpetuation of the subjugation of our people. He nurturing an enhancement of an inferiority
complex in our personality and the continual servicing of both the ego and material wellbeing of the
colonial metropolis by the colonial structures were so established (1989:2)

The Ghanaian theatre began when a foreign Cultural impact began to assert its dominant role on the Traditional
African Values system by Africans who by their claim of education should not have accepted the foreign culture
becoming the main conduit for the propagation of the new and foreign lifestyle.
For the purposes of the paper, I will group the periods of the development of drama into different stages thus: The
period of protest drama, the period of local plays‟, the National Theatre Movement.

The Period of Protest Drama

Protest Drama began during the era of the Gold Coast‟s Colonial experience. The main playwrights of this era are
Kobina Sekyi whose great influence on this area of reasserting traditional values through theatre is the concern of

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Vol. 1, No. 4, April 2014, pp. 1 - 8, e-ISSN: 2334 - 0037
Available online at http://ajssal.com/

this paper. We also have the likes of Kwasi Fiawoo and J.B. Danquah. Fiawoo wrote The Fifth Landing Stage in
1925 and Danquah also wrote a philosophical play, The Third Woman in 1939 and published it in 1943.

The Period of Local Plays

The period between 1935 to the early days of Ghana‟s Independence saw the emergence of a number of local
language plays. The market potential of these local language plays encouraged a host of playwrights to also write in
other local languages. The mission schools provided ready market. Most mission schools before Ghana‟s
Independence prescribed these plays as essential text books. Ironically, it was the post Independence Educational
System that encouraged the use of these plays, while at the same time, Government invested heavily in the Bureau
of Ghana Languages with the mandate to encourage publications of literature in the local languages. The age of the
local language plays was terminated by the era of Nationalistic atmosphere of the late 1950‟s until the overthrow of
the first republic in 1966. The theatre and plays during the three periods show first that, Theatre has been the most
singular and very important Art that has been used over the period in the Country‟s search for a cultural identity.
Plays during the three periods by their content either rejected foreign cultural imposition, or sought to favorably
compare the local culture with the foreign culture. Secondly, the use of local languages again established the clear
wealth and advantage of the local medium over foreign language at the same time as it rejected foreign culture by
affirming the wealth of local languages. Local language plays by nature projected the richness of the local language
to neutralize the advantage that the former has. Thirdly, while pre-Independence Theatre used the medium of local
language; post- Independence theatre attacked and rejected foreign cultural imposition by seeking to discover new
forms of theatre that may define African Theatre. Theatre was thus identified as a potent tool for the asserting of the
African Identity. Theatre in its application is therefore not just an Art for social diversion; it definitely is justified by
its social, cultural and political role. The advantage that theater has over the print media is its powerful visual
powers. The advocates of the post- Independence Ghanaian Theatre did not restrict their definition of the theatre
concept to the written plays or literary drama only; a theatre house or building most suitable to dramatize the
question of Ghanaian authenticity was even more pressing. It was to address itself to the question of Ghanaian
authenticity both in plays and theatre houses that the “Ghana Theatre Movement came into being”.

The National Theatre Movement

The Ghana theatre movement sometimes called the National Theatre Movement was a ghost movement from the
beginning. It never had any office space and did not employ a staff. Its social role was never defined. The
administrative bodies charged to project the movement namely; the Arts Council of Ghana, The Ministry of
Education and Culture and the Institute of African Studies of the University of Ghana, all followed different and
uncoordinated directions. The Mass Media, thus, Radio, T.V and Ghana Film Corporation were supposed to
disseminate the research findings of the movement to the general public. But not a single one of these agencies
welcomed the movement and its agents or brand of artists.

Personalities emerged from the movement but some of these were either quasi-artists or elite conservative type who
were fighting their own identity crisis and were therefore calling for wholesale restoration of things African from
their comfortable bungalows in Accra, Kumasi, and Cape Coast. It may be argued that, by their colonial education,
these personalities had acquired western conservative tastes. Their call for the restoration of Africanness was
therefore hardly radical. It marked only a shift from ones western conservative tastes. These personalities who were
to guide the course of the modern Ghanaian Theatre became custodians of the Ghanaian Theatre overnight and even
went ahead to prescribe guidelines for theatrical circles in the country. That, play and theatre performances should
reflect Ghanaian Authenticity. That, the theatre house should reflect the concept of Ghanaian traditional architecture
must be noted that, some of the dreams of the movement in theory were sound but in practice created theatrical
production problems for the original dramatists. It must also be said however that, the blend of cultural nationalism
with the insistence on thematic relevance to the society formed part of the long established traditions of the modern
Ghanaian theatre whose founders date back to Kobina Sekyi (1892-1956) and J.B Danquah (1895-1964). The social
and emotional tension of the writers that laid the foundation of modern Ghanaian Theatre had their beginning in the
latter part of the nineteenth century and the beginning of the 20th century.
The major British cultural influence may have begun on the 6 th of March 1844 when a number of Fante chiefs in the
Bond of 1844 signed a protective accord for British protection against the Ashantes. This resulted in the first major

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Vol. 1, No. 4, April 2014, pp. 1 - 8, e-ISSN: 2334 - 0037
Available online at http://ajssal.com/

concentration of all sponsored educational and commercial activities around the Central and Western region of the
Gold Coast. This resulted in Fantes especially those in Cape Coast by education, becoming the most anglicized
Africans. The Anglo-Fante was content with this pattern of life in the Gold Coast until he visited England. There, he
found himself an unwelcome visitor in the aristocratic and sophisticated circles and at the same time was unable to
identify with the British working class culture. Back home from many years in English Universities, the Anglo-
Fante, even with the University degree also found himself politically powerless because the British indirect rule had
concentrated power in the hands of the traditional authorities whom the missionaries had taught the educated
African to despise. It was against this background of contradictions and searches for identity that the Anglo-Fante,
who had earlier accepted the British indoctrination, turned an instant violent political-cultural nationalist. Kobina
Sekyi was one such Anglo-Fante.

The man Kobina Sekyi

Kobina Sekyi came into the Gold Coast political scene as a result of his frustration and increasing disenchantment
with the British Colonial system. The founding fathers of the modern Ghanaian Theatre were not originally
interested in Art but the platform the Art offered to communicate didactic messages. Traditional Ghanaian art forms
and theatres, such as folk storytelling, the Concert Party Theatre and Ceremonial and Ritual Drama from traditional
festivals have always been taken to balance the moral intention with artistic goals. The theatre of Sekyi is removed
from the traditional forms, in that they are “all moral and little art”. The theatre to them was a platform to purge their
political and cultural frustrations.

It was in his attempt to provoke debate on the contradictions in the socio-political systems in the Gold Coast and the
dangers to the survival of the African that Kobina Sekyi called on the visual powers of the theatre to expose the
realities in the system.
William Essuman Kobina Sekyi was born in Cape Coast (the cradle of the Gold Coast Nationalism) on 1 st
November, 1892. Most of his upbringing and education seemed to have been undertaken from his maternal home,
and he also schooled at the Mfantsipim Secondary School.

Sekyi entered the University College of London to read literature, but later switched to read philosophy. The
contradiction he saw in the British social system brought home to him the ghastly realities in the culture that he had
been flirting with all through his education in England. His frustration in England marked the turning point in his
life. Within a matter of three years, the western conservative in Sekyi had turned a Gold Coast Nationalist as K.A.B
Jones Quartey (1970) said about him, “the more European philosophy Kobina Sekyi read, the more African he
became”.

His Search for Cultural Identity through “The Blinkards”.

The Blinkards, the major extant play of Sekyi, a founder of the modern Ghanaian theatre, drew its inspiration from
Sekyi‟s long narrative poem” The Sojourner”; This poem sums up the heights of Kobina Sekyi‟s general frustration
with western civilization and marked the beginning of his search for his own cultural identity.
Aside the many issues raised by the playwright, Kobina Sekyi also used his play, The Blinkard to teach and educate
on the need to reinforce our African values. The play tries to defend the point that, the introduction of Christianity
together with civilization should not be a reason for us Africans to push our moral and cultural values to the
background.

One major value expressed in The Blinkard is the need to respect ones cultural traditions. Culture, in simple terms
can be defined as the way of life of a group of people. Culture is the one thing that defines an individual and shapes
his identity. Culture stretches from food to cloths, language, belief systems among many others. Hence, one may
ask; what then makes the man if he throws away his identity? “It is therefore naïve for one to push his or her cultural
practices to the background and allow alien or foreign culture to appear in the foreground. In a situation like that,
social cohesion and advancement stagnates, and the people seem lost” Owusu & Okyere (2009:pg62).

Throughout the play, we see a large division between the people; one group consisting of semi-educated Fantes and
the uneducated traditional ones. However the former group seems to influence the later. The Fante language is

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Vol. 1, No. 4, April 2014, pp. 1 - 8, e-ISSN: 2334 - 0037
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largely condemned by the cosmopolitan club. The members of which majority are illiterates, rather encourage the
speaking of the English language. Suddenly, there is a crazy need to behave like a British in order to be accepted as
part of the society. It is funny how Mrs. Brofosem prefers “Erimintrude” to Araba Mansah which is Miss Tsiba‟s
original name. Mr. Tsiba would rather be called “Aldibonontiphosphoriuio Chhrononhonthonthologos” a name that
cannot even be pronounced talk less understood. All of these go to show how the African identity is being
disregarded and disrespected.

Also, the semi-literate in the play has succeeded in disrupting the traditional way of doing things. Marriage is a very
important activity in Africa not only because it unites two individuals but also because it brings two extended
families together. For this reason, the family has a major role to play in the marriage process, a role which has
totally been downplayed. The responsibility placed on the family to be the first to hear from a young man and his
people about his intention to marry their daughter has grown extinct. In the new order, the family is the last to know.
In some extreme cases, the couple lives together and even have children before marriage intentions are made known
to the family. This is exactly what the playwright frowns upon.

Mr. Okado: please sir congratulate me

Mr. Onyimdzi: Congratulate you? What on earth for?
Mr. Okado: I thought you said, in England, people who are engaged are congratulated
Mr. Onyimdzi: But you are not engaged, are you?
Mr. Okado: of course yes, sir: I am engaged to Miss Tsiba
Mr. Onyimdzi: What!
Mr. Okado: True, sir: I am engaged to Miss Tsiba
Mr. Onyimdzi: How did you manage it? It is rather quick work, you know
Mr. Okado: We are both reading the same book, sir. We read it last night, till morning. The chief woman in the
book, she drops her handkerchief. The chief man picks it up, and gave it to the girl. Then they fell in love at first
sight. Then they get engaged.
Mr. Onyimdzi: Really. I hope you are joking. People don‟t get engaged in that lightening way hereabout. Her people
may object- and yours for that matter.
Mr. Okado: But we are engaged English fashion, sir. Her father like English things and Mrs. Brofosem will be very
glad and make her father consent.

What a way to get engaged? This act truly defies the morals of traditional marriage and the resultant confusion that
comes up later in the play. In Africa marriage is an important institution respected between two families and not
between two individuals in a corner somewhere.
One major way of identifying an African is the way he or she dresses. It has become so difficult in recent times to
distinguish an African way of dressing from others; the playwright clearly expresses his concerns on the matter. In
The Blinkards, Mrs. Brofosem seems to be carried away with her little experience in England which clearly reflects
in her mode of dressing.

Mrs. Brofosem: Oh dear! It is hot! Too hot! But I have got it. I am sure he can‟t able to resist my new green
umbrella, my new ten- guinea hat, and my new patent boots with white top”
One could clearly judge by the above lines that, Mrs. Brofosem is very uncomfortable in what she was wearing yet
she prefers them to native cloths because she wants to appear civilized. She goes on,
Mrs. Brofosem: I‟m glad you‟ve been to England: behold me spick and span in silk and patent shoes and with
parasol and fun”.

It is amazing how much confusion we see in our world together with regards to what we wear. People who have
travelled outside the continent come back embraced in a new mode of dressing; the tragic part however is when
others struggle to copy to be and look like these people. These and many more, are the concerns expressed by the
playwright in The Blinkards.

The irony of Kobina Sekyi‟s new self-identification was that he sounded like a lime-light in a forest. His return to
his native country in 1913, found to his utter disappointment, that most of his fellow Africans preferred to follow the
European way of life.

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In spite of the traumatic experience in England, Sekyi never ceased to be a conservative. For all his alienation from
western cultural norms, he was hardly radical. In all his call for the institutionalization of wholesale “Africanness”,
he could hardly be said to be pioneering any radical views. He was only changing from conservative Anglo Fante
into conservative traditional African, for as Kwame Gyekye (2005) puts it;

“No social movement is (however) interested in a wholesale restoration of all the things past”.

In calling for re-instatement of almost all African traditional values, Sekyi was not moving from his formal position
of a conservative; he was only changing from one cultural stand to another. The tragedy of such sudden cultural
reawakening is that, it is not religious and sometimes even more sentimental. It is often backed by emotions and is
hardly objective. Thus the founding fathers of the modern Ghanaian theatre like the advocates of the “Ghana Theatre
Movement” were more of emotional political beings in search of their own cultural identities than national
innovators.

The search for Sekyi‟s own cultural identity led to his writing of numerous creative pieces. The imitation of the self-
styled salt of the earth; the willingness of the African to jump and accept foreign cultures; the fact of the rich elite
African ceasing to think for himself; the unnecessary tastes acquired by the educated African; these are the ideas that
Kobina Sekyi addressed himself to in his play, The Blinkards. The play is interesting as a historical document and an
academic piece. The playwright applied very little stretch of his imagination; situations were presented as he saw
them existing and characters are identified in their gait and mannerism than their involvement in any dramatic
action. Very often, the play breaks into long undramatic monologues of which, the only justification is that, it was
the playwright speaking through them. Characters are introduced on stage and after long debates, they go off stage;
not having been involved in any dramatic piece.

The intention of the writer was not to write a well-motivated play, he seemed more interested in “lampooning” a
social class of Africans and their mannerism of imitating the European way of life. The Blinkards was written in the
style of the restoration comedy of manners. In plays of this school, deeper characterization is often absent. To make
up for the absence of deeper analysis, the writers employed the uses of “label names”. One key technique employed
in the play is a combination of English and fanti language as part of the dialogue in the play. This technique,
according to Kerr (1995)

“Was a progressive technique which opened the play up to popular audiences”

The Blinkards also make use of this device of personification and the key to one‟s understanding of such plays is in
character names. An explanation of a few names to illustrate the points will therefore be very important in the quest
for reasserting traditional values through theatre.

The main characters in The Blinkars are Mr. and Mrs. BROFOSEM. Brofosem is a combination of two words: Brofo
(English, European, white people, or scholars) and Sem (words, ideas, manner, behavior); Brofosem therefore
means, English or European imitators or mannerism. Onyimdzi, simply means, brilliant, wise or a lawyer. Dr.
Ohweyie; Ohwe is from the word whe; meaning (look, see, observe or take care of); Yie means (well, good, proper)
Ohweyie therefore means careful or cautious doctor. Tsiba is made of the words tsi or ti (head, or brains and by
implication, intelligence) and ba (child, small or miniature); Tsiba literary means, small brain or brainless. Okadu
suggests a blind follower of fashion. Katawirwa stand for, strong willed; thick skin and consistency. (NNa) Sumpa is
two words Sum (serve) and Pa (good); Sumpa here means, serviceable. Nyamekye (god given) is a popular Akan
name.

These are the characters and what they stand for in Kobina Sekyi‟s comedy, The Blinkards. The plot of the play
itself is very simple. After some months visit to England, Mrs. Brofosem, returns to the Gold Coast an imitator of
Gold Coast refinement. As ridiculous as her imitative culture, she wins the admiration of the gullible Africans in the
neighbourhood. Famous among her admirers is Ms. Tsiba (brainless)

An illiterate but rich cocoa farmer, Mr. Tsiba is anxious to bring up her daughter, Miss Tsiba to be “like a European
Lady” and apprentices her daughter to Mrs. Brofosem. Meanwhile, Mr. Okado, a young apprentice in service to
Lawyer Onyimdzi, falls in love with Miss. Tsiba. Courtship, formal engagement and wedding between Miss. Tsiba

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and Mr. Okado, follows the Christian order. But for a hitch; Miss. Tsiba had been traditionally married to another
man. A case of bigamy follows in which Lawyer Onyimdzi wins by proving that, traditional African marriage is
equally as legal as Christian ordinance marriage. The church gets offended; but the turning point in Mrs. Brofosem
had arrived as at the end of the play, Mr. and Mrs. Brofosem comes on stage wearing traditional African dress and
addresses the audience.

“The people of the old days were wise indeed; if only we could follow
The customs they left us a little more, and adopt the ways of other races
A little less, we should be at least as healthy as they were”.

It is easy to classify The Blinkards as a protest play. The intentions of the writer are to ridicule the Anglo-Fante and
to propagate Africanism. The writer is much more interested in lampooning those Africans condoning with total
rejection of African ways of life. Sekyi‟s play, The Blinkards written in 1914 and first performed in 1915 was
calling on the Gold Coast African to heed his call for National Self Assertion.

Conclusion
In the period of Globalization where nations are throwing away their culture and forcing themselves to the now
known global village culture, let us now call for self awareness, it is natural to make some self criticisms. It was the
attempt to „propagandize‟ Africanness and hold the 20th century African up to ridicule that laid the foundation to the
first founding plays which was to dictate the pace of theatre in Ghana. The modern Ghanaian theatre then was
unconsciously founded by Kobina Sekyi when he wrote the play, The Blinkards. Sekyi was articulating the long
Ghanaian intolerance of colonial rule. Sekyi was a political nationalist who saw potent force in the visual power of
the theatre and used it as a medium for purging his political and social frustrations as well as educating the public on
sensitive socio-political issues. Undoubtedly, Theatre/Drama is one of the arts that can effectively reduce cultural
alienation and re-establish nationalistic identity.

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