Is the Marriage Market Stillborn?

‘… If the bride price is not paid, the bride will die at childbirth’. These words thwarted every ambition for happiness, books (1)progressive living and well-being for the character ‘Akunna’ in Buchi Emecheta’s ‘the Bride Price’. The author used this work as a medium to explore several social issues of which for me, the marriage economy falls into. The theme focused on the politics around establishing a marriage in our society. An important strand in the conflicts it projected is the contentions around the dowry. One will ask why the bride price of a woman is so important. In ‘Akunna’s 400_F_49638666_kfrIsxJnFg2vQurfpzWy2XHMd8ddqzARexperiences, we see a poignant story of faith in the economic difference being educated can make in a woman’s bride price. Through several social upheavals twisted along cultural lines, this work does not just expose how cultural beliefs can rape the mind. It adds to the existing body of knowledge that reminds us of the importance of marriage, not just for meeting physiological needs, but also for its economic benefits as it indirectly contribute to the local economy of people.

According to Margaret Mead, marriage is a socio-economic arrangement where consideration is made of wealth, class and job skills wealth of the man and woman. For better or worse, marriage for Akunna’s society had more than a social relevance. While it is portrayed to be protecting a withering culture of class and caste, the relevance of any victory the ‘Ibuza’ culture might have had in this work is most conceivable in today’s world from an economic lens.

It is not in doubt that marriage is the lifeblood of the economy. Believe me, where the economy is, that is k1312803714413356-3d-marriage-word-sphere-on-white-backgroundwhere all governments pitch their tents. This is proven through by the realities of the over-protectiveness of the rules of engagement for the marriage institution by many states in the world. Within international development, civil right debates are dominated around issues on whether gays and lesbians should be allowed to get married or not, arguments have been made on the emotional and cultural implications of this. Most interesting is the economic dynamics of this new paradigm to private and social benefits. But the fear for the unknown impacts of legalizing non-heterosexual union decades away keeps the decisions hanging. All of this speaks of the importance of marriage to the local, national and global governance.

While many states consider the pressures of legalizing homosexual marriages, most African countries like Nigeria do not find it a images (10)threat. So I am often caught in my thought wondering what the consequences are for my country and others alike.

While the pressure pots are yet to hit our constitutional door steps, shouldn’t we first of all soften on the stance of whether gays and lesbians should get married and worry more on what is happening to the commitments at the heart of the already established marriages?  What in the society has influenced the increase in divorce rate, the desensitization of stigma around single parenting, the delay in age of marriage and more so the rising choices for homosexual relationships? Is there a collision of forces? what precisely has influenced this paradigm shift on the part of men and downloadwomen to produce a loveless economy laced by rising impression that marriages is bond-less and a terminable institution?

Commitment is the core of every marriage. The global economy is driven by sexual, emotional and other forms of commitment between two (or maybe more) people. At the induction of every marriage commitment, a tree of economic growth is planted that increases many sectors of the economy. Need I say that marriage has been the springboard for producing a nation’s labour force? But that core, is threatened heavily, so is the economy.

bld016719Many elucidators have given numerous perspectives in response to the evolving trends; some have charged falling sex ratios, changes in supply and demand balance, rise in age of commitment, amongst others. But then, different societies may have their account of what is changing the pattern of the wind that drives marriages.

Zainab Alkali’s ‘The Stillborn’, gives an insight which may account in certain ways to the position of young women. It represents a 51QTyupPXRL._SL500_AA300_shift in mindset that has organically taken root coming from a disenchantment of a failing marketing approach. De Beauvoir states that ‘marriage is the destiny traditionally offered to women by society’. Marriage is a woman’s destiny, and the hunger to fulfil that destiny injected into every young woman is reinforced with the carrots of a heterosexual intensely romantic relationship dangles just everywhere. With all naivety, the character of ‘Li’ in ‘the Stillborn’ hung to the dream of a romantic marriage that will provide material and emotional support and be the answer to all her problems. In ‘Li’s theory, all she had to do was provide him sexual satisfaction, cook his meal and cuddle him to her breast, and then the dreams will come true.

love-carrots-low-res-iStock_000013121473MediumLike her friend ‘Faku’, these women became disillusioned as their belief and faith in marriage meeting their needs remained a stillborn. Marriage was not a Siamese twin relationship where their heart beat together and two halves made a whole. They had believed a lie, for them, pursuing the promises of the carrot was like chasing a moving target. Finally, there is a shift in mindset for the women and a redefined approach to seal the cracks on the wall of their life. Their new understanding redefines marriage and their expectations; it recasts the patriarchal society and the favoured role given to men. Questioning conventions, ‘Li’ uses her new mindset as a weapon of self empowerment.

Such disillusionment and rapid changes in the economy has raised many daughters of ‘Li’ who see it more practical ???????????????????????????????????????for educated single women to sustain themselves and their children without a man’s help. The traditional value of marriage keeps withering away by the day, in the mind of a man, maybe the character of ‘Habu’ saw commitment to ‘Li’ as a constrain, controlling and confining him to the eventual robbery of his masculinity.

Like gold, diamond and currency markets, the marriage market can suffer swing in prices with small changes to the supply and demand ratio. Such swings can be caused by a changing perception. In the case of marriages today, the swing hits strongly at the level of commitment given by individuals in the institution and those outside.

10318535-married-couple-bride-and-groom-figurine-inside-a-roll-of-us-dollar-banknote-bills-isolated-on-whiteThe lack of that organic growth in the culture that sustains marriage in the heart of people needs attention of everyone interested in sustaining economic growth driven by marriage.

Succinctly, this review has not given an explanation of what is happening to marriages, it only suggests and adds to existing perspectives using works of fiction. The views that the characters in ‘the Stillborn’ conceptualizes may again give insight on how to progressively focus on sustaining our socio-economic development, considering that individual and family patterns fit into larger socio-economic structures of our society.download (1)

Nonetheless, how high the demands for marriage will be in the future will depends on what approach of  development each person and the society adopts. If we choose to consider a holistic approach that prioritizes the well-being and happiness of the people, the marriage concept may suffer a shock as individuals will define marriages on the backdrop of happiness, self esteem amongst others. But if we choose economic approach, then it may continue to survive just the way it is.

-Written by Adaobi Nkeokelonye

Models of Femininity in Africa’s Popular Fictions

imagesI would think of a woman’s body as a battle ground you know, but it’s not only her body, it’s her identity and her dignity. Writing this week’s column, I thought about what makes a female a woman.  I realize how many times I hear that word ‘…like a woman’. It’s either talk like a woman, sit like a woman, behave like a woman, dress like a woman… On and on it goes. I began reflecting through my first paragraph;

‘Woman! Thou art only a ribbon taken from a man’s chest. Your worth is in your dowry, your honour is in your virginity, your pride is making a man’s tummy quit rumbling with your sweet meal, and it is in sexually massaging his ego by giving freely of yourself. Your respect is in being called a wife. That is the story of your life and so has it been.’

To be a woman, you have to become an appendage to a man; this has been the predictions of our literatures from the times Things fell apart through to the days of the Lion and the Jewel. Even the Gods are not to blame for this as men alone told the stories. And what do you expect if our husband has gone mad again? He will write in a language of patriarchy, painting the world only in the colours of black or white. There is never a grey colour in between or any other colour.

This remains a burning issue in international development; gender equality! It has become an analytical category for virtually everyk3468324 development activity. We have made a gender case for domestic violence, for agriculture, for health and every other constraints of progressive development around the world. I know many development practitioners like Gloria Steinem, are feminist. They hope for a future where everyone’s individuality and dynamism has expression without discouraging the balance of human right. Thus we continue to appreciate studies that explore the constructions of femininity and masculinity to know precisely where to focus our interventions and alter some undesirable realities in our society.

In trying to bridge the gaps between fiction and development on the issue of gender constructions, I took a look at how femininity has been modelled in our works of fiction. Works of our renowned authors Ola Rotimi, Chinua Achebe, Wole Soyinka amongst others were ??????????????????????????????????????explored. In their books grown women carried the pot on their heads as Obiageli in ‘Things fall apart’, twisted and untwisted their The Gods Are Not To Blame tnwaist with the smoothness of water snake like Sadiku in ‘The lion and the jewel’, competed and fought their sisters to own the man and capture his straying affection like Lizzy and Sikira of ‘our Husband has gone mad again’. Indeed, women in the era of these works were presented as having small brains, as tools of reproduction, they were possessions of a man, bought and sold by men, promoting polygamy, caressing the man’s ego and enhancing his social status. The characters of Sidi, Sadiku and Ailatu, showed that women helped men build their world. They were defined according to their responsive roles to a man and their domestic diligence. These women were always docile; rarely did they show excitement or speak from their depth to the audience in a voice that conflicts the constructions of femininity portrayed above. I have wondered why there was no woman that sometimes felt like screaming, that told her husband when she did or didn’t want sex. Was there none that sincerely got tired of her marriage sometimes? How about sharing pain and the joys of motherhood? Then I remembered that when men tell the story alone, history is altered.

Flora Nwapa’s ‘Efuru’ came into the literary stage capturing an exact voice for women, be it when they spoke of love, malice or anger. Then Buchi Emecheta was like a breath of fresh air. She brought to the scene a new model of femininity presenting women whose destination was Biafra, who could tell ‘the joy of motherhood’, who shared the pain in being ‘second class citizens’, who were working 11613648-african-womanhard to sustain themselves even though it meant increasing the value of the bride price. Feminine models who questioned conventions burst the scenes. ‘God when will you create a woman who will be fulfilled in herself, a full human being, not anybody’s appendage?’ Nnu Ego cries out.  Emecheta’s belief in individuality of human beings showed in her feminist view that laces all her work.

Reading through some of them three decades after they were published, it echoes strongly the thoughts of more women in this generation than in the era it was written. I am tempted to say that most of Emecheta and Nwapa’s works were forecasting and portraying different models of femininity in the future. It is a future where most women like ‘Amaka’ in One is not Enough will express their frustrations and speak out precisely for what they want. ‘… I don’t want to be a wife anymore, a mistress yes, with a lover, yes of course, but not a wife. There is something in that word that does not suit me. As a wife, am never free. I am a shadow of myself. As a wife, am almost impotent. I am in prison, unable to advance in body and soul… I don’t want to go back to my ‘wifely’ days. No, I am through with husbands. I said farewell to husbands the first day I came to Lagos.’joysofmotherhood

But how have these models impacted the world of today’s woman? Does Buchi Emecheta’s work represent a certain calibre of women while the depictions of the male authors represent another? Do we have an eclectic combination of the above models in today’s woman? The latter may be the case as our women still set very high premium on children even where they reject the roofs of patriarchy looming over the marriage institution. Like Debbie, many are tired of playing the prescribed wifely role but may play it until they know the joy of motherhood. While morality hangs on conventions of the femininity of the past, it is not seen as a strong driving force for the choices that women make today. Motherhood remains a drive in the definitions and identities women give to them self. It creates the space they need to live a fulfilled life and often their agency is expressed strongly through it. Hence being a wife is still important and honourable but is less honourable than being a mother. That seems like the story of today’s woman.

400_F_42582281_ZUNp1Kbliek4wVQ5lOoVIw9WSABV14qQIt’s amazing how two roles a person plays can strongly define the dignity of an identity. In Flora Nwapa’s character ‘Efuru’, we see how all of her success collapses under the weight of not being a wife or a mother according to a divine order. While being a wife and a mother is a role females can choose to play, it has strongly defined the identity of every female making them worthy or unworthy. I would begin to wonder how happy a female can ever be if she were none, can she just be a woman without being a mother or a wife or does it make her less human? This is the burden of identity women carry through their lives as they live in societies that hold the values that the authors have portrayed in the literatures above. Maybe one radical act a female may adopt, is to claim ownership of her body and her identity, but it seems we were groomed from the cradle not to.

-Written by Adaobi Nkeokelonye