Abstract

All over the world, have always fought against their oppression, degradation and subjugation. These are all reflected in the works of such African female writers as Buchi Emecheta, Nawal El Saadawi, Flora Nwapa, Mariama Ba, Micere Mugo, Ifeoma Okoye, Akachi Ezeigbo and a host of others. The plight of in most patriarchal societies have not really changed much today despite the sensitization of the public on gender issues. Women are constantly being harassed and denigrated in different ways. They are thus always struggling to assert their rights and resist oppression in whatever ways their voices are being stifled. These individual acts of resistance have, over the years, therefore, created a certain consciousness among the oppressed women. Such consciousness is discerned in Maria Stewart's 1831 speech as she advises the daughters of Africa to Awake! Arise! No longer sleep nor slumber, but distinguish yourself, show forth to the world that ye are endowed with noble and exalted faculties (Collins, 2000:98). This seems to be the watchword for many African female writers as they imbue their female characters in their creative writings with wisdom and courage to carry out their respective roles.Over the years, the politics of power has consistently been a big issue between men and women, both in the traditional African culture and in the western society. One would, however, impute from these struggles that the biological disposition of the women, ab initio, makes them vulnerable to exploitation by the physically stronger sex, the men. Notwithstanding this natural difference, have for decades shown that power cannot be limited to physical strength alone. Power still translates to the ability to control or to sustain whatever influence and authority one has over the other or others. The cultural concept of the role of in the society has always put the woman at the receiving end especially when there is abuse of this power. Women, therefore, try to circumvent their disadvantages by using tact, commitment to their cause and female bonding to consolidate their positions and achieve success in the pursuit of their goals, despite their harassments, intimidation and in some cases denigration by men.This paper, therefore, explores the tussle of power between men and as characters in Tess Onwueme's The Reign of Wazobia, Akachi Adimora-Ezeigbo's Hands That Crush Stone and Julie Okoh's Edewede. In The Reign of Wazobia, for instance, it is clearly demonstrated in the relationship between Wazobia, the king surrogate and her male chiefs as she struggles to assert her authority and maintain her rights as the surrogate king of Ilaa in Anioma kingdom.From the prologue, we are given a vivid description of the village setting of Anioma Kingdom where King Obi-Ogiso has just departed from, leaving an empty THRONE. Wazobia, the king surrogate, is beckoned by the vibrant rhythm of drums to join in the backward dance as demonstrated by the masquerade. tries a step or two, stops abruptly, changes her step as if shaking off the hypnotic backward-dance of the masquerade. The prostrate but the masquerade, angry, stops dancing abruptly and the drumming ceases immediately. Exit masquerade with severe warning glare at WAZOBIA and the women (1).This is a signal that Wazobia cannot be teleguided by the dictates of the traditional past especially when these obsolete statutes will not move the community forward. Wazobia thus urges the to rise up from their deep slumber and assert their authority and presence. She, however, advises caution in recognition of the natural bond of humanity:Arise Women! They say your feet are feeble show them those feet carry the burden of the womb! They say your hands are frail, show them those hands have claws!... But spill no blood for these are sons of our womb... (my emphasis, 2).Here, the author is invariably advocating that while we pursue our rights and assert our authority, we should always remember that these men are not enemies but are also our own sons, brothers and fathers. …

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