Culture as a Vessel for Women Oppression: A Critical Study of Female Genital Mutilation in Mabel Evwierhoma’s The Cut Across

ISRG Journal of Education, Humanities and Literature, Volume 2, Issue 2.

Authors

  • Nkiruka Jacinta Akaenyi Department of Performing Arts, Faculty of Arts, Akwa Ibom State University, Nigeria Author

DOI:

https://doi.org/10.60951/afrischolar-192

Keywords:

Patriarchy and Excision, Infertility, Human rights, Female genital mutilation

Abstract

This study explores how cultural norms and traditions can serve as vessels for the perpetuation of gender-based violence, specifically, against women. It explores cultural oppression against women within the context of Mabel Evwierhoma's play, The Cut Across, focusing specifically on the practice of Female Genital Mutilation (FGM). Using feminist theory this study contends that female genital mutilation is one of the harmful cultural practices that hemline women. By examining the characters and themes within the play, this study sheds light on harmful cultural practices that contribute to the subjugation of women. This study goes beyond the play itself, engaging with the sociocultural dynamics that sustain FGM. Ultimately, this study seeks to contribute to a deeper understanding of the complex interplay between culture and the perpetuation of gender-based violence, stimulating debates on how drama challenges systems of oppression. This study argues that women can surmount cultural oppression and achieve freedom by actively working together to champion equality, rather than being passive, waiting for liberation to be granted to them. This study recommends that drama can be used in amplifying the voices of the silenced by employing the transformative potentials of the theatre, which has can be used in addressing sensitive topics.

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References

Akaenyi, N. (2024) ―Intragender Subjugation in Tosin Jobi Tume’s Blood on My Hands‖. Global Journal of Arts, Humanity and Social Sciences, 4(2), pp.150-157.

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Derr, H. (2019) ―Feminist Theatre: What Does It Do and How Does It Do It?‖ Howlround Theatre, 14 https://howlround.com/feminist-theatre Accessed 4 Nov. 2019.

Evwierhoma, M. (2022). The Cut Across. Dynasty Gold impact publishers.

Kolawole,T. and Kwaak, A. (2021) ―The Review on Determinants of Female Genital Mutilation in Nigeria‖.International Journal of Gynecology and Obsterics, 9(2), pp. 1–6.

Mandara, U. (2004) ―Female Genital Mutilation in Nigeria‖. International Journal of Gynecology and Obsterics, 84(3), pp. 291-298.

Nutsukpo, M. (2020) ―Women, Protest and Social Change in Julie Okoh’s Edewede”. International Journal of Language, Literature and Gender Studies, 9 (1), 2020, pp. 28-40.

Okoh, J. (2006) ―Female Circumcision in Nigeria: Myth, Reality and the Theatre‖ Pearl Publishers.

Okoh, J. (2000) In the Fullness of Time. Totan Publishers.

Toubia, N. (1995) ―Female Genital Mutilation‖. In Peters J. and Wolper A. (ed) Women’s Rights Human Rights. Routledge.

Van-Gennep, A. (1960) The Rites of Passage. Routlege.

Yeseibo J. (2017) ―Female Genital Mutilation: The Patriarchal Attrocity in BFA’S A Scar for Life‖ In Ododo S. and Omoera. O (eds).Theatre, Media and Cultural Re-Engineering in Nigeria: An Ovation of Excellence to Barclays Foubiri Ayakoroma.SONTA/NICO.

Zabus, C. (2008) ―What the Body Remembers: Trauma in New African Self-Writing Around Excision‖ Proceedings of the International Forum on Gender Studies. KTS integration Services.

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Published

2024-03-01

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How to Cite

Akaenyi, N. J. (2024). Culture as a Vessel for Women Oppression: A Critical Study of Female Genital Mutilation in Mabel Evwierhoma’s The Cut Across: ISRG Journal of Education, Humanities and Literature, Volume 2, Issue 2. Afrischolar Discovery Repository (Annex), 1-6. https://doi.org/10.60951/afrischolar-192

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