Afro Puffy @ethnique85 - Tumblr Blog

In this story, we look at the powerful African women that are providing leadership on a global stage.

Rwanda’s Louise Mushikiwabo

Having served as Rwanda’s top diplomat since 2009, Louise Mushikiwabo, who previously worked at the African Development Bank, relinquished her position this month when she was elected secretary-general of the International Organisation of La Francophonie (OIF).

The 57-year old will for the next four years, oversee the activities of the global body that brings together 58 countries and regional governments, representing 274 million speakers of French around the world.

Nigeria’s Ngozi Okonjo-Iweala

In July this year, social media giant Twitter announced the appointment of Ngozi Okonjo-Iweala to its board of directors.

The former Nigerian finance minister, who also had several positions at the World Bank will work to make ‘Twitter a safer, healthier place’ for its over 300 million users.

Senegal’s Fatma Samoura

She is the highest ranking female official in the world’s football governing body, and the first ever woman to achieve the rank of FIFA secretary-general.

Senegalese Fatma Samba Diouf Samoura was appointed to the role in 2016, and has served with distinction, implementing FIFA’s reform agenda and organising the record breaking World Cup tournament in Russia.

The 55-year old, who worked with the United Nations for 21 years, recently said she had encountered racism and sexism when she took over the job at FIFA, as some people resisted the idea of a ‘black woman’ in a senior position.

Ed’s note: Read the rest of the 7 here

naturalafricangoddess

chey_maya

MAURITIUS/JAMAICA

Flying Pioneers

Whilst reading Ama Ata Aidoo's anthology of short stories "The Girl Who Can", I came across a tale half-way through the book called "Heavy Moments". The story is a brief account of three women who became pilots and the protagonist, Akuba, had early notions of flying. As a child, she rushed outside to observe the wonder of flight.

"As far as [Akuba] was concerned airplanes had always meant something different. She wanted to fly them” (P66 The Girl Who Can).

At the beginning of the story, there is a dedication, written by Ata-Aidoo

"This story is in salute of Melody Millicent Danquah, Ayele Komey & Joanna Araba Maanan Dickson, the three women who first dared to join the Ghana Airforce".

It then came to my attention that this story was based on three real women, pioneers of female aviation in Ghana, so, I began to research. The main character in Ama Ata Aidoo’s story, Akuba, is based on the real-life Melody Millicent Danquah credited with being the first female pilot on the African continent.

Melody Millicent Danquah

Beginnings

Her parents were Ibinjah Rexford Addo-Danquah, a registrar for a court and Selina Gyamfi. Melody was born in 1937 and was the sixth of ten siblings and attended Wesley Girls High School in the Cape Coast area of Ghana. She began a teaching career and entered government secretarial School in 1959. After this, she began working as a civil servant with the broadcasting director and also worked as an officer during the first presidential elections in Ghana.

Melody became interested in flying after allegedly reading an advertisement in the early 1960s that was calling on women to establish and develop a strong-armed force after Ghanaian independence. She was one of six women to be interviewed and three were successful including Melody, Ayele Kome and Joana Dickson. Motivated by the adventure and the novelty of the role Melody embarked on training and flew her first solo flight in June 1969. This feat made her the first Ghanaian and African female pilot ever to fly a plane solo.

Melody’s skills and expertise became more evident when in October 1969 she was the only student plot allowed 10 minutes of solo flying during Air Force day. In 1965 she was presented with her wings as a qualified pilot by Kofi Baako, the minister of Defence. In 1968 her flying career ended, and she began a career in the administration department of the Air Force. By 1989 Melody was discharged from the force due to illness but was presented with a sought-after long service award and a medal for efficiency. She was also awarded by John Kufuor with the companion of the order of the Volta in recognition of her spirit and courage.

As if her flying career wasn't impressive enough, she gained a Diploma in Bible studies and Theology and had a side career as a lay preacher at the age of sixty. She also became a member of Board of Directors for the Ghana Institute of Management and Public Administration. These remarkable experiences highlight her tenacity and skill.

Legacy

These women were trailblazers and pioneers. They were brave in the face of an unknown career path. Not only did Millicent apply to the Airforce, she and her colleagues excelled. During their tenure female pilots became more common in Ghana. I can only imagine the courage, determination and zest for life Millicent had to enable her to work, seek her passion and be successful in this profession. The discrimination and confusion she may have fired may have also been a barrier to her career.

References

https://www.africanewshub.com/visit/Wtezjlhttps://face2faceafrica.com/article/look-melody-millicent-dankwa-first-female-pilot-africa

#women #africanwomen #feminism #2018yearofthewomen #ghana #africa

Akosua Busia: creative powerhouse

Akosua Busia is something of a great talent and she bears the job titles of actress, film director, songwriter and author. Busia is the most famous for her role in the critically acclaimed, Spielberg directed -The Colour Purple (1985), also starring Whoopi Goldberg and Oprah Winfrey. Her determination and artistry speak through her work.

Beginnings

Akosua is the daughter of Naa Mokor Busia and Kofi Abrefa-Busia, her father was the former President of Ghana from 1969-1972. This very public and open upbringing did not seem to affect Akosua or her sister Abena’s aspirations and it didn’t lead them to shy away from the limelight. Her sister is a poet and academic - an associate Professor of English at Rutgers University USA. Akosua spent her formative years in the Republic of Ghana and developed a deep love for acting and artistic expression. In her first acting role, she played Juliet in Shakespeare's Romeo and Juliet at Oxford’s Klaxton Theatre in the UK where she also happened to be the only black person in the cast. To play a lead role in a Shakespeare play is a feat in itself, let alone playing Juliet in one of the playwright’s most iconic plays. It was from this performance that she gained amazing reviews which led to her receiving a scholarship to attend the Royal Central School of Speech and Drama where she gained a BA degree in drama.

Akosua was born into an Ashanti Royal Family, the Yefri Royal house of Wenchi, Ghana. The interesting experiences and influences of her early wife would have no doubt influenced her acting, writing and creative expression. Being a part of a royal household and the daughter of a president, educated in the UK and Ghana would have exposed Busia to a wide variety of ideas and philosophies which is evident in the way she expresses herself.

Career

The Color Purple wasn’t Busia’s first on-screen role, it was, in fact, a film called Ashanti (1979), where she appeared next to Michael Caine. Her acting prowess and ability were highly praised, and she was seen as a promising new star. After this role, Busia went on to star in several feature films including Bessie in Richard Wright's Native Son (1986). She also starred in Badge of the Assassin (1985) Rosewood (1997) and in Tears of the son (2003).

Getty images- A Scene from The Color Purple (1985)

Family First

Akosua married the American film director John Singleton in 1996. They had a daughter- Hadar Busia-Singleton but the couple divorced a year later in 1997. Upon having her first child, Busia decided not to work as an actress until her daughter was old enough. She briefly broke this acting hiatus to star alongside Djimon Hounsou in an episode of E.R. - the iconic American Hospital drama - in 1998. The episode’s storyline was about two tortured political refugees.

As well as acting, Busia is an author and penned the book “The Seasons of Bento Blackbird: A Novel” (1997) and this book was also adapted into a screenplay. In an article from the Cincinnati Enquirer in (1999) with John Kiesewetter, Busia talked about her frustrations with acting and screenwriting.

"When I write novels it's what I want to say, for better or worse... [but] with screenwriting you are a victim, in a sense, because the director can change everything." (Akosua Busia 1999)

The above quote shows that there are benefits and disadvantages to both forms of expression, being an author of books and a screenwriter. She feels free being an author, as her ideas and concepts are not tampered with as readily. Busia was also the co-writer for the screenplay adaptation of Toni Morrison's Beloved (1988) and also directed a film about her father called: the Prof. A Man Remembered. Life, Vision and Legacy of K. A. Busia. Along with screen and book writing the accomplished Busia also co-wrote the song Blue Moon with Stevie Wonder on the album A Time 2 Love.

Return to Acting

In 2016, Busia had a widely celebrated return to acting in Danai Gurira's (Black Panther) play Eclipsed, which also starring Lupita Nyong'o. For this play, Busia received an Obie Award for distinguished performance. The play also made history for being the first all-black female casted play, as well as being the first a black female writer and director on a Broadway stage.

Akosua Busia and Lupita Nyong’o on the stage starring in Eclipsed (2016)

Busia is an immensely talented and creative individual with acclaimed skills in the visual arts, writing and directing. It is very unusual to have an individual that excels in such a variety of things. Being brought up in the limelight with a high-profile father and being brought up in both the UK and Ghana I am sure gave the young Busia a great insight into the world and an unrivaled ability to express herself in several ways.

Having acted amongst the likes of Michael Caine, Oprah Winfrey and Whoopi Goldberg gave her the ability to hone her already impressive craft. Her talent is something that is not celebrated as much in the Ghanaian community and I feel she has done a massive amount develop acting and drama in Hollywood.

References

http://www.enquirer.com/columns/kiese/1999/04/07/jki_er_actress_dreams.htmlhttps://www.imdb.com/name/nm0124333/ https://www.youtube.com/watch?v=noruXH6enJ4

https://en.wikipedia.org/wiki/Akosua_Busia

#africanwomen #africa #ghana #akosuabusia #yearofthewoman #biography #champions #rolemodel #women #africanfeminism #feminism

Amma Asante

My fourth Article in my African women series showcases British-born Ghanaian, Amma Asante. She is a champion of the film industry highlighting diverse stories and locations.

Who is Amma Asante?

Amma Asante is a British born Ghanaian director, screenwriter and actress. Asante hails from Streatham, South West London, also the stomping ground of Naomi Campbell. She was the first Black woman to open the London Film festival in 2016, with her retelling of a real diplomatic love story, A United Kingdom. Asante was allegedly encouraged to attend the Barbara Speake drama school by her mother to alleviate her childhood shyness. She began her career as a child actress and had parts in Grange Hill - a popular British School drama - from the 1980s-1990s. She also appeared in other British shows such as Desmond's and Birds of a Feather.

Image- Larry Busacca/Getty Images North America

After several acting roles in front of the screen, Asante chose to work behind-the-scenes and pursued a screenwriting career. This change paid off and she developed programmes including her breakout drama, Brothers and Sisters (1998), which she wrote and produced for BBC 2. In 2004 her first feature film aired which she wrote and directed. The film "Way of Life" premiered at the Toronto film festival and won newcomer nominations for London Film Critics Circle and Evening Standard Film Award.

One of many few black female voices in screenwriting, following the Ghanaian tradition of storytelling, Asante's stories include the voices of those who have been forgotten. These voices were evident in her first feature film, "Way of Life" which was about poverty in a small Welsh town.

Dido Elizabeth Belle

Her second feature film, Belle (2014), began life when she was sent a postcard from the producer, Damien Jones. Jones sent Asante a portrait of Dido Elizabeth Belle and her cousin, Lady Elizabeth Murray. The now widely known portrait of mixed-race Belle looking mischievous with her white cousin Elizabeth Murray. Dido - born in 1761 - was the child of Sir John Lindsay, a naval officer and an enslaved woman, Maria Belle. Lindsay came across Maria Belle on a slave ship and it has been reported that he took her as a concubine/ mistress. This was not a surprise at the time neither was it unusual. There were countless mixed-race children born of mostly non-consensual relationships between slave masters and female slaves. What was unusual is the fact that Sir Lindsay brought his illegitimate child to the UK to live with his uncle, the first Earl of Mansfield, and Dido was raised there with Mansfield's wife and their great-niece, Lady Elizabeth Murray.

Unknown Artist

The story of Dido was brought to life by a team with Asante at the helm. In an interview before the film was released Asante said, "for centuries black people were basically accessories in paintings, there to express the status of white people… never looking at the painter looking up in awe of the [white] protagonist". After four years the film was released in 2014 to widespread critical acclaim. Belle won several awards including the national film awards in the UK and an NAACP award in America. The film brought to life an important historical time for the UK, highlighting how slavery, privilege, belonging and love intertwined in eighteenth-century England.

Beginnings

Asante was born in 1969 to industrious Ghanaian parents who ran a shop but also had backgrounds in accountancy. Attending drama school won her a part in school drama, Grange Hill. Encouraged by her mother again to have the skill to fall back on, Asante attended secretarial college. At the same time, she wrote the sitcom Brothers and Sisters, which stared a 22-year-old David Oyelowo. Asante went on to cast Oyelowo in her 2016 film, a United Kingdom.

Image- Daniel Bergeron

Championing diversity in the Film industry

Reports and research studies have highlighted the lack of diversity within the film industry, currently dominated by white, male Eurocentric voices. Asante sees herself as another voice, writing stories and making films that show other perspectives, histories that have ignored. She takes on complex historical and social stories and exposes layers, voices and perspectives that others avoid or overlook.

Being a black Ghanaian female entering an industry like film and TV in the 80s may have been a challenge for Asante. As a minority woman, Asante may have spent a lot of time seeing the world through different perspectives and she brought these ideas into her films and TV shows. In an article in the Guardian, Asante highlighted the complexities of this. She stated that when people asked her where she was from, she almost always said she was from Ghana. She felt that many people would be confused. If she said she was British she would receive a "big fat rejection, because I felt as British as everybody else but I [was] constantly reminded that I wasn't".

This feeling of otherness and separation is a theme that comes across loudly in the films that Asante writes and directs. She seems to be motivated by telling stories of those not in the mainstream. Asante has not only opened up the world of film for many other black British female storytellers, she has shown that exposing the industry to more people is a fruitful and worthwhile endeavour.

Being a black female and writing stories that highlight and emphasise more perspectives is an important aspect of Asante's storytelling. "We're so used to seeing flies in African children's faces … [and] what I call a degraded Africa that doesn't have a person of colour at the centre of their own story." This view of a "degraded Africa" has been long seen not just in the media but in literature and popular opinion for what seems an infinite amount of time. It is screenwriters like Asante, authors and other professionals who have the platform and ability to showcase the continent's diversity, heterogeneity, stories and tales. In 2017 Asante received an MBE for her services to the UK film industry, as recognition for her lifelong work, enthusiasm and continued support.

References

https://www.ft.com/content/76fc6668-a6cf-11e6-8898-79a99e2a4de6

https://www.theguardian.com/film/2016/oct/02/amma-assante-interview-a-united-kingdom-london-film-festival

http://www.telegraph.co.uk/films/2016/07/06/dido-belle-britains-first-black-aristocrat/

http://www.ammaasante.com/biography

#actress #filmindustry #diversity #director #Media

Ama Ata Aidoo Champion of literature.

Illustration by Joseph Nyagah

As a self-professed bookworm, I was always getting lost in different worlds, dimensions and other people's heads. I distinctly remember reading, for the most part, non-discriminately, eating up works by Judy Blume, Roald Dahl and Jaqueline Wilson. Even though I didn't find characters that were exactly like me, with regards to my race, I did identify with characters such as Matilda, a bookish misunderstood girl.

I had two books growing up with black characters in them. As an adult, there seems to be easier access to a diverse range of books that are representative of global and multicultural experiences. At the beginning of 2017, I began to search for black and especially African female writers. I have long heard of male African champions of literature such as Chinua Achebe and Ben Okri, but not really heard about the female creators of literature.

When I discovered Ama Ata Aidoo, I was well into my twenties and searching for the African, especially Ghanaian feminist voice. I thought to myself, what do women have to say in the country of my heritage? When I finally made a pact with myself to listen and understand the complexities and nuances of the African female voice. I blended works by Yaa Gyasi and Zadie Smith and mixed them with Ama Ata Aidoo's books including The Dilemma of a Ghost, Anowa, Changes and Our Sister Killjoy. As soon as I read Aidoo's books, I fell for her style and descriptive ability. I was left wondering, where is the celebration of her work? Where are the accolades?

Beginnings

Ama Ata Aidoo, also known as Christine was born in 1942 in South-Central Ghana to a Fante royal family. She is one of many people responsible for opening up Ghana's dialogue on topics such as colonialism, feminism, slavery and imperialism. Aidoo attended secondary school at Ghana's Wesley college in the Cape Coast region. Here she was asked by a teacher, what she wanted to do, she replied that she wanted to become a poet. The teacher then stated, "poetry doesn't feed anyone Christine." That same teacher also bought her first typewriter for her to develop her love of writing.

A turning point in the young Aidoo's life was when she entered a Christmas short story competition sponsored by the newspaper, the Daily Graphic. When she opened the paper on Christmas eve she saw her name listed as a winner. This gave her determination and belief in herself to pursue a writing career. She then enrolled in a BA English degree at the National University, the University of Ghana, in Accra. During her time there she managed not only to complete her degree but also wrote her first play "The Dilemma of a Ghost" which she completed in 1964. The play is based on a Ghanaian man who returns to Ghana after studying in America, with an African-American wife. He and his wife had very different ideas of how she and her husband should live their lives. This play opened up discussions about returnees, culture, feminism and expectations and was picked up by Longman in 1965 making Aidoo the first published African female dramatist. This accolade has created a legacy throughout Africa for several other writers.

Other Work

Aidoo followed that play with several other works including her play Anowa (1970). This tale is based on a folk story about Anowa, a woman in the nineteenth century, who follows her heart to marry a prominent farmer. The protagonist then discovers, to her distaste, her husband is involved in the slave trade. Aidoo's other writing includes Our Sister Killjoy (1977), Changes (1993) and No Sweetness Here (1995), a collection of short stories. Her plays, short stories and novels prominently and confidently display strong female characters, navigating the world through motherhood, academia and love. She also seamlessly weaves in subjects including homosexuality, feminism, colonialism, imperialism, reparations and slavery into these stories and tales. Throughout writing these interesting and ground-breaking plays and stories, Aidoo simultaneously spent the majority of her career in academia. Aidoo became a research fellow at the University of Ghana after graduation, but other roles have included visiting lectureships in various institutions including Brown and Stanford universities in America.

Activism and Legacy

Aidoo also recognised the needs of women writers and introduced a Mbaasem - (meaning women's issues) - in 2000, a foundation that helps and supports women to pursue literary careers. Aidoo continues to be an inspiration for many female writers including Chimamanda Ngozi Adichie and Taiye Selasi who identify her as a beacon and a champion for the art form. Aidoo has consistently identified as a feminist, never afraid of highlighting issues and problems in her writing. Her ability to use poetry and prose to symbolise, aspects of Ghanaian society and her activism, ensure that women are celebrated and respected in society and this is something that should be recognised.

#feminism #ghana #amaataaidoo #literature #reading #lecturer #africanwomen #africa #women #internationalwomensday #fante

Theodosia Okoh, artist, designer and hockey champion

As a young female, growing up I always wanted to find champions, winners and examples of people who looked like me. One such person I feel who has not received much critical acclaim is Theodosia Okoh, a great example of determination and achievement.

Mrs Theodosia Okoh was a Ghanaian woman, an artist and sports activist, responsible for designing one of Africa's most recognisable flags. Just before Ghana officially gained independence from British colonial rule in 1957, a competition was launched by the government to find a flag to replace the United Kingdom's Union Jack. When Theodosia, who studied fine art at Achimota School, saw an advert in the daily newspaper that was calling for someone to design a flag, she jumped at the chance.

"The competition was advertised in the dailies for someone to design a flag. I quickly [sent] my application and mine was … selected. [As] an artist I could not just ignore the advert." Theodosia Okoh.

The winning flag design caught the eye of Kwame Nkrumah and his government. The simplistic, yet deeply symbolic style has become a staple of many African flags.

The green symbolises the rich vegetation of the country, the gold stands for the rich natural resources found in Ghana and the red represents the blood that was shed during the journey to independence. The star which has five points symbolises emancipation and freedom from colonial rule.

Recognition

Despite this amazing achievement, allegedly Mrs Okoh was not formally notified that she had won the competition. The first she knew of it was when she saw the flag being used widely. She received no official recognition and it was not until 1993 when she was awarded by the Entertainment Critics and Reviewers Association of Ghana (ECRAG) and she was also presented with the Grand Medal by the state in 1997.

An interview with Theodosia's daughter, Ama Okoh, stated that her mother's achievement was not focussed on in their family home.

"Growing up it didn't seem like a big deal. She was an artist. As a kid [I remember] she was always painting and doing art. We knew before independence she had entered a competition for the design and hers was chosen. It was as simple as that. She never made a big deal of it - in fact, I don't think that my friends knew that my mother designed the flag."

(Ama Okoh, 2015).

Upbringing

Born on 13th June 1922, Theodosia was born the daughter of Reverend Emmanuel Asihene and Dora Asihene and was the fourth of eight children. Her father was credited with being the first Ghanaian moderator of the Presbyterian church and a reverend. Prior to this her father was a teacher, often seen as the first formal teacher of fine art in the then Gold Coast. Theodosia married Enoch Okoh who was head of the Civil Service in Kwame Nkrumah's government and secretary to the cabinet, in the first republic government.

Hockey's Saviour

As well as being an artist, Theodosia is also accredited with being the "Joan of Arc" of Ghanaian Hockey by Ohene Djan; as the sport's popularity and standing in the country can be traced to her persistence and passion. Theodosia became the first female chairman of the Ghanaian Hockey association and then later became its president, a post which she held for over 20 years. During her tenure, Ghana was able to qualify for the Olympics and the Hockey world cup.

Theodosia's passion for hockey developed when she attended the Achimota School where she played the sport. Until the late 1960s, the majority hockey pitches in Ghana were in Army Barracks and the sport was not accessible to all, unlike football. The lack of suitable pitches hindered the sport's popularity, so Mrs Okoh decided that for the sport to grow, there needed to be a centrally located and gold standard hockey pitch. Theodosia set about raising funds to reclaim some land that was in Accra, Ghana's capital. The pitch was completed in 1973 and not only did Theodosia spearhead the building of the national stadium in Ghana, she also increased the popularity of the sport in several ways. Such as persuading football teams to establish hockey teams as well. Hockey matches were played before football matches.

After the 1966 coup d'etat in Ghana football teams could no longer sustain the hockey teams. At this time, Mrs Okoh asked other organisations including schools and companies to establish and champion the sport. She also raised the view of women's hockey to international standards during her time as the president. This campaigning led to increased awareness, recognition and passion for hockey in Ghana.

Mrs Okoh's passion and dedication for the sport was rewarded in 2004 when the national hockey stadium was named after her by President Kuffour. However, following the death of the then president, John Atta Mills in 2013, the then Accra Metropolitan Chief, Alfred Oko Vanderpuije, took it upon himself to rename the stadium after the deceased President. This resulted in public outcry and confusion by many; so this decision was retracted by President John Mahama who apologised to Mrs Okoh.

When Theodosia Okoh passed away in 2015 she received a state burial. At her funeral her passion for learning, inspiring others and sport was recognised.

Legacy

Theodosia did a lot for Ghana and Africa at large. Not only was she responsible for one of the continent's most recognisable flags, she also spearheaded and championed hockey to be a respected and revered sport.

As a strong woman, she not only raised children and had a high-profile husband, she was also successful in her career that she carved out and maintained for herself. It is left for us to wonder that if this woman was a man, would the successes of her life be celebrated and discussed more widely? As a society, it is extremely important for such talented and strong people to be recognised and credited in Africa and the diaspora, regardless of gender or social standing.

References

1. http://africancelebs.com/theodosia-okoh-the-woman-who-designed-the-ghanaian-flag/

2. https://www.thenanaproject.org/wp-content/cache/page_enhanced/www.thenanaproject.org//the-story-of-theodosia-okoh//_index.html_gzip

3. https://www.modernghana.com/news/620577/mrs-theodosia-okoh-the-woman-behind-ghanas-national-flag.html

#feminism #women #ghana #flag #designer #hockey

Yaa Asantewaa - Warrior Queen

The Yaa Asantewaa war of 1900 (also known as the Asante- British war or the last Asante rising) was one of the most iconic wars in Ghana's history. It marked the last war from a series of six wars that attempted to reduce and remove British influence in Ghana's Asante region. The war was spearheaded, managed and strategised by a woman; Yaa Asantewaa.

Who was she?

Image of Yaa Asantewaa with armour

Yaa Asantewaa was the Queen mother of the Asante town of Ejisu, but how did she become one of the most revered female figures in Ghana? In Asante tradition, royal families follow the maternal line. After her brother and former ruler of Ejisu Nana Akwasi Afrane Okpese died in a civil war between 1883 and 1888, Yaa Asantewaa nominated her grandson to be the ruler of Ejisu. After the fourth Asante war of 1874 the British gave harsh punishments to the Asante's. These sanctions included deprivation of minors' gold whilst the British acquired a long stretch of gold lands, invasion of the Asante Kings' palace looting it and demanding that the Asante Kingdom should become a protectorate of the British empire.

To avoid further conflict Prempeh I, the then Asante King (Asantehene), sent a delegation of elders (1895) to London to negotiate a peace treaty, but it was rejected by the British. The Asante King wanted to accept the plan offered by the British, believing it would be enough to appease them, but this was not the case. As a result, in 1896 the king of Asante, Prempeh I was exiled to the Seychelles along with Yaa Asantewaa's Grandson the Ejisuhene (the King of Ejisu).

So Yaa Asantewaa was a Queen mother and the rulers of Ejisu were exiled. It, therefore, seemed logical that she would become a representative at this important time. However, in 1900 it wasn't commonplace for women to be at the forefront of military, strategic decisions.

The golden stool removed

The Golden Stool

By sending the Asantehene into exile, the British took advantage of the ruler-less situation and began to loot and steal the country's treasures. In a meeting with a gathering of Asante rulers including Yaa Asantewaa March 1900, the British governor of the then 'Gold Coast", Sir Frederick Hodgson demanded the Golden Stool be surrendered to the British authorities. The Golden Stool is the most prized and revered artefact and symbol of the Asante region and it was thought that the removal of a national symbol would make the Asante stumble.

The symbolism of the Golden Stool runs deep. The stool is more than a regional artefact for the Asante's. Allegedly the stool is said to have been summoned from the heavens by a man called Okomfo Anoyke and landed on the first Asante King Osei Tutu (date). Based on this the stool is revered, must never touch the ground and should not be sat on, or touched by others.

Not only did Sir Frederick Hodgson demand the golden stool, he also stated that:

Neither Prempeh I or his rival would be allowed to return to Kumasi.

The powers of the Asantehene (the King of Asante) were now in the hands of those who represented Queen Victoria of England.

The interest of the price of the wars of 1874 and of 1896 at £160,000 would have to be paid by the Asante (Arhin, 2000).

The meeting was said to have broken up quietly but Yaa Asantewaa who was representing her Grandson was said to have been very angry at the "nonsense" she was hearing (Arhin, 2000). In a rousing speech Yaa Asantewaa stated:

"Now I see that some of you fear to go forward to fight for our king…in the brave days of Osei Tutu, Okomfo Anokye, and Opoku Ware, chiefs would not sit down to see their king to be taken away without firing a shot. No European could have dared speak to chiefs of Asante in the way the governor spoke to you this morning. Is it true that the bravery of Asante is no more? I cannot believe it. It cannot be! I must say this: if you, the men of Asante will not go forward, then we will. We, the women, will. I shall call upon my fellow women. We will fight! We will fight till the last of us falls in the battlefields."

The leaders of Asante chose Yaa Asantewaa to lead the resistance war. What isn't known is exactly why she was chosen, but some of the reason may be down to her rousing speech after the meeting with the then Governor of the Gold Coast. Asante culture greatly respects and reveres its women, but it was very unusual then and even now to have a woman leading a major resistance war. Her duties would have been to consult with others, initiate actions, plan, strategise, mobilise troops and material.

Statue of Yaa Asantewaa

The fact she was chosen for this important role suggests that she displayed strong leadership traits including negotiation, strategy, attention to detail, a clear vision and charisma. Regardless of her gender, she was the best candidate for the job of leading the troops to victory in this landmark event.

The outcomes of war

The war raged on but the British troops were never able to find the Golden stool. The Asante's lost that war and the Gold Coast became a British Protectorate. Yaa Asantewaa and others were exiled to the Seychelles in 1901 and on 17th October 1921 Yaa Asantewaa died there. In 1924 King Prempeh I returned to Ghana and gave her a proper burial.

The way that Yaa Asantewaa took control at a time when women were not known to do so is extremely interesting. She not only had the courage to speak up for the region, she managed and became a chief strategist in the 1900 war. Even though the outcome of the battle led to the region becoming a protectorate of Britain and other important Asante rulers being exiled to the Seychelles, Yaa Asantewaa's place in the war remains a remarkable symbol of the strength of the nation and the strength of women in African society.

References

1. Arhin, B (2000) The role of Nana Yaa Asantewaa in the 1900 Asante War of resistance. Le Griot, volume 7.

2. Asirifi - Danquah (2007). The Struggle: Between two Great Queens, 1900-1901. Victoria of Great Britain and Yaa Asantewaa of Ejisu, Asante.

3. Boahen, A. A. (2003). Yaa Asantewaa and the Asante-British war of 1900 - 1

#women #yearofthewoman #africa #africanwomen #feminism #ghana #independence #warrior #war #yaaasantewaa #asante #ashanti #ejisu

Amazing African women

It took me a while to reallise that I am a feminist; being the only daughter and growing up with three brothers I always tried to exert myself and find my voice. I was very much supported in this quest. My experience of Ghanaian society is that it is very patriarchal and I didn’t notice or was not able to identify many people talking about important and trailblazing female public figures. I think I would have been delighted and empowered to see and hear about women who share my heritage that are and were amazing. So to celebrate the 60th Anniversary of Ghana’s independence which happened in 2017, and the 2018 year of the woman, I embarked on some research. This research took the form of finding out about Ghana’s most inspirational women.

So I introduce the Amazing African women series. I will focus primarily on Ghanaian women, but will also expand the series to include women from other African countries. So stay tuned for posts that showcase some of these successful and multi-faceted women.

#african #women #feminism #yearofthewoman #africa

brittsense

persephonesecretlair

4C hair is magic.

duchess365

Day 365/365 ❤️🎉 made it! Praise God! animated self portrait! (my first animation)

ethnique85

Gorgeous

Have we moved on from the 2016 Oscars row?

In January 2016, I sat in Leicester Square’s Garrick Theatre, eagerly waiting to see a play about a play. The audience were restless and after the show was temporarily halted due to faulty speaker equipment, the actors continued. The play, Red Velvet, tells the story of Ira Aldridge, the first black man to play Othello in the UK. Even today it is still rare to see black leads in classical British theatre but in the early nineteenth century, 1825, it was even more extraordinary.

Adrian Lester

Red Velvet was directed by Lolita Chakrabarti and the lead played by her husband Adrian Lester from; BBC drama Hustle, the National Theatre’s Henry V and Tennesse Williams’ Cat on a Hot Tin Roof. The play focussed on the true story of Aldridge, an African-American actor who emigrated to Europe in the early nineteenth century due to lack of acting opportunities in the segregated USA. In 1825 he made his European debut and thereafter developed a distinguished acting career touring the continent.

Aldridge ironically was the first black man to play Othello on the British stage. Let us just remind ourselves that Othello is widely regarded as a non-white Shakespearean character, some believe he was written as a black African; so it would only be natural for the part to be played by someone who isn’t white. However, it took over 100 years for Aldridge to break the proverbial glass ceiling to play the role of Othello.

Being in the audience that evening felt like a microcosm. Themes such as merit, image, obviously race, ability, employment, and reputation were clearly present within the play. At the time in 1825 The Times, described Aldridge as “baker-kneed and narrow chested with lips so shaped that it is utterly impossible for him to pronounce English”. At the time these reviews would not have caused any surprise. The spectacle of a black man on the stage would have been enough to invoke these types of opinions.

Chakrabarti could not have picked a better time for the play to air. The 2016 Oscars race row, where many black actors boycotted the awards ceremony due to the lack of black representation, is contrasted with the beginnings of a black presence in the UK’s theaters. The reviews, the awe and the negativity that Aldridge faced during his career are not a distant memory and for many, still a reality. The scrutiny that non-white actors currently face, the view that they have to be ‘twice as good’ to be recognised in the industry are parallels that can be seen in the play.

Other similarities are the fact Aldridge moves from his home, America to the UK due to the lack of acting opportunities. This is mirrored by black British actors who have made the opposite journey to America for better opportunities including Lester himself, Idris Elba and Chiwetel Ejiofor.

Idris Elba

What this play represents is that we have not actually moved that far away from 1825 in our attitude towards diversity and inclusion in society. Minority actors are increasingly scrambling for roles and recognition. The casting of John Boyega in Star Wars: Episode VII – The Force Awakens represented the first black males to be cast in a lead role in a Star Wars movie. This met with disappointed twitter users starting the hashtag #boycottstarwarsVII based on the dislike of “black actors invading white spaces”. The twitter hashtag was not a hit, but the voices and comments in the similar vein were not absent from the critique of Boyega’s casting. Boyega himself showed his disdain by commenting:

“You guys got every single alien in this movie imaginable to man... Yet what you want to do is fixate on another human being’s colour.”

John Boyega - 2014

A response to the 'Oscars so White’ row of 2016 may have been positive as of 2017; with films focussing on mainly black casts and crew such as Hidden Figures, Fences and Moonlight being nominated for awards. Wins for Fences (best-supporting actor, Viola Davis) and Moonlight (best picture and best supporting actor, Mahershala Ali) have gone some way to celebrate unique story-telling. However, we still have some real work to do to ensure this is not a fad.

The repeated calls by those in Hollywood and all over the world to make film and television more representative of a globalised world seem to still be falling on deaf ears. Not just token casting, or niche avant-garde movies, non-white actors are breaking through glass ceilings, making blockbuster films, and smashing box office ticket sales. Let’s hope in the next 100 years, we won’t still be having this conversation.

#oscars #oscarssowhite #Johnboyega #adrianlester #redvelvet #films #media #diversity