ENG2601 ASSIGNMENT 3 2026
DUE AUGUST 2026
A Critical Analysis of Cultural Expectations and Individual Choice in Anowa
In the extract from Anowa by Ama Ata Aidoo, the playwright explores the conflict
between what society expects and what people want for themselves. Through stage
directions, dialogue, and rhythm, Aidoo shows how traditional cultural beliefs often clash
with personal choices. The older generation, represented by Anowa's parents, believes
that everyone should follow tradition and obey social expectations. In contrast, Anowa
wants to make her own decisions and refuses to let these traditions control her life. The
use of these dramatic devices helps to show the growing tension between tradition and
individual freedom.
Stage Directions: Setting the Scene and Revealing Character
The stage directions in the extract are not just instructions for staging but are carefully
crafted to show the conflict between cultural expectations and individual choice. The
opening directions present Anowa in a position that challenges traditional female
behavior. She is described as sitting on an overturned water-pot facing the audience,
with her cloth wrapped around her but showing "the upper part of her breasts" and "all
of her legs." This is significant because in traditional Ghanaian culture, women were
expected to dress modestly. Anowa's appearance and position suggest she does not
follow these expectations. She sits in a way that draws attention to herself, which goes
against the cultural norm that women should be quiet and modest.
, The stage directions also show how the community watches and judges. When the
woman with the tray passes by, she "turns round at every step to stare at the boy and
girl." This shows that the community is always watching and judging young people. The
woman's fall and the young couple's laughter further shows their rejection of traditional
behavior. Instead of helping an older woman, they laugh at her misfortune. This is a
clear break from cultural expectations that young people should respect their elders.
The upper stage, representing the courtyard of Anowa's parents' home, is described in
detail. The stage directions mention the "earthen hearth," "tripod cooking pot," and
"small household stools." These items represent traditional domestic life. The "lie-in
chair" belonging to Papa Osam shows the patriarchal structure of the home. Everything
in this space represents the traditional expectations that Anowa is rejecting. The
contrast between the lower stage (where Anowa is free and laughing) and the upper
stage (where her parents worry about her) shows the physical separation between
individual choice and cultural expectations.
Dialogue: Voices of Tradition and Rebellion
The dialogue between Anowa's parents, Maami Badua and Papa Osam, reveals the
cultural expectations placed on women and the conflict when they resist. Badua's
opening speech expresses her worry: "Any mother would be concerned if her daughter
refused to get married six years after her puberty." This statement shows the cultural
expectation that women must marry shortly after reaching puberty. Badua's worry is not
just personal but reflects the values of her society. A woman who does not marry is
seen as a problem.
Badua also expresses the idea that women are human beings who "grows." She says,
"a woman is not a stone but a human being; she grows." This is an important statement
that shows some awareness that women have needs beyond marriage. However, even
Badua's understanding is limited because she still believes marriage is necessary. She
is caught between traditional expectations and her daughter's individual needs.
DUE AUGUST 2026
A Critical Analysis of Cultural Expectations and Individual Choice in Anowa
In the extract from Anowa by Ama Ata Aidoo, the playwright explores the conflict
between what society expects and what people want for themselves. Through stage
directions, dialogue, and rhythm, Aidoo shows how traditional cultural beliefs often clash
with personal choices. The older generation, represented by Anowa's parents, believes
that everyone should follow tradition and obey social expectations. In contrast, Anowa
wants to make her own decisions and refuses to let these traditions control her life. The
use of these dramatic devices helps to show the growing tension between tradition and
individual freedom.
Stage Directions: Setting the Scene and Revealing Character
The stage directions in the extract are not just instructions for staging but are carefully
crafted to show the conflict between cultural expectations and individual choice. The
opening directions present Anowa in a position that challenges traditional female
behavior. She is described as sitting on an overturned water-pot facing the audience,
with her cloth wrapped around her but showing "the upper part of her breasts" and "all
of her legs." This is significant because in traditional Ghanaian culture, women were
expected to dress modestly. Anowa's appearance and position suggest she does not
follow these expectations. She sits in a way that draws attention to herself, which goes
against the cultural norm that women should be quiet and modest.
, The stage directions also show how the community watches and judges. When the
woman with the tray passes by, she "turns round at every step to stare at the boy and
girl." This shows that the community is always watching and judging young people. The
woman's fall and the young couple's laughter further shows their rejection of traditional
behavior. Instead of helping an older woman, they laugh at her misfortune. This is a
clear break from cultural expectations that young people should respect their elders.
The upper stage, representing the courtyard of Anowa's parents' home, is described in
detail. The stage directions mention the "earthen hearth," "tripod cooking pot," and
"small household stools." These items represent traditional domestic life. The "lie-in
chair" belonging to Papa Osam shows the patriarchal structure of the home. Everything
in this space represents the traditional expectations that Anowa is rejecting. The
contrast between the lower stage (where Anowa is free and laughing) and the upper
stage (where her parents worry about her) shows the physical separation between
individual choice and cultural expectations.
Dialogue: Voices of Tradition and Rebellion
The dialogue between Anowa's parents, Maami Badua and Papa Osam, reveals the
cultural expectations placed on women and the conflict when they resist. Badua's
opening speech expresses her worry: "Any mother would be concerned if her daughter
refused to get married six years after her puberty." This statement shows the cultural
expectation that women must marry shortly after reaching puberty. Badua's worry is not
just personal but reflects the values of her society. A woman who does not marry is
seen as a problem.
Badua also expresses the idea that women are human beings who "grows." She says,
"a woman is not a stone but a human being; she grows." This is an important statement
that shows some awareness that women have needs beyond marriage. However, even
Badua's understanding is limited because she still believes marriage is necessary. She
is caught between traditional expectations and her daughter's individual needs.
