THE SETTING OF “Marriage of ANANSEWA” by Efua T. Sutherland

The setting of The Marriage of Anansewa by Efua T. Sutherland is carefully constructed to reflect the social, cultural, and moral realities of Ghanaian society. The play’s setting operates on several interconnected levels, including spatial, temporal, psychological, historical, and social dimensions. Together, these layers of setting do not merely provide a background for the events of the play; they actively shape the characters’ actions, the development of the plot, and the overall meaning of the work.

Spatially, the play is set mainly in an urban environment in Ghana, particularly in the house of Pa Kweku George Ananse. This domestic space serves as the centre of almost all the dramatic action. It is within this confined urban setting that Ananse plans and executes his elaborate scheme to marry off his daughter for financial gain. The city setting symbolizes modern life, exposure to wealth, materialism, and the pressures of survival in a competitive environment. In contrast, the village of Nanka, though not physically presented on stage, is frequently mentioned and represents tradition, moral authority, and cultural rootedness. The movement of characters such as Aya and Ekuwafrom the village to the city, and later their forced return, highlights the tension between rural values and urban cunning. The urban setting becomes a space where traditional moral restraints are weakened, enabling deception and manipulation to flourish.

Temporally, the play is set in contemporary, post-independence Ghana. The events unfold over a relatively short period, encompassing Anansewa’s outdooring ceremony, the exchange of letters with suitors, and the dramatic episode of her faked death. The use of modern elements such as typewriters, postal services, formal education, and structured institutions like the Institute for Prospective Brides firmly situates the play in a modern time frame. This temporal setting is significant because it exposes the coexistence of modern lifestyles with traditional customs. Despite living in a modern era, characters still rely heavily on ancestral rites and marriage traditions. Sutherland uses this setting to question whether societal progress has truly transformed moral values or merely provided new tools for old forms of exploitation.

Psychologically, the atmosphere of the play is charged with tension, anxiety, ambition, and emotional conflict. Ananse’sconstant scheming creates an environment of suspense and unease, especially as his lies grow more complex and risky. His fear of exposure and obsession with wealth dominate the emotional climate of the household. Anansewa, on the other hand, experiences inner turmoil as she struggles between obedience to her father and her personal sense of dignity and love. The psychological setting deepens the play’s satire by revealing the emotional cost of deception and greed. What appears humorous on the surface is underpinned by fear, manipulation, and moral discomfort.

Historically, the play is situated in post-colonial Ghana, a period marked by economic uncertainty, social transition, and the redefinition of identity after independence. During this time, many people struggled with poverty while a new class of wealthy individuals emerged. Ananse embodies the frustrations of the ordinary man attempting to escape hardship in a society that increasingly equates success with material wealth. The presence of rich chiefs, diplomats, and elaborate gift exchanges reflects a society negotiating between traditional authority and modern power structures. This historical context allows Sutherland to critique the failure of independence to immediately resolve social inequality and moral decay.

Socially, the play is set within a deeply patriarchal Ghanaian society where men wield significant authority over women and family decisions. Marriage is treated not only as a cultural rite but also as an economic transaction. Fathers dominate marital negotiations, elders command unquestioned respect, and women are expected to be submissive. This social environment enables Ananse to manipulate his daughter’s future with little resistance and allows Christie to pursue her desires indirectly. The social setting exposes the imbalance of power within families and society, highlighting the exploitation of women and children under the guise of tradition.

Beyond these dimensions, the play is also set within a cultural performance space rooted in African oral tradition. The inclusion of the Storyteller, Players, music, dance, and audience participation reflects the Anansesem and Anansegoro traditions. This performance setting creates a communal atmosphere where storytelling becomes interactive and morally instructive. It reinforces African identity and ensures that the audience actively engages with the play’s lessons rather than passively observing them.

In conclusion, the setting of The Marriage of Anansewa is multilayered and deeply significant. Through its spatial, temporal, psychological, historical, social, and cultural dimensions, the setting shapes character behaviour, advances the plot, and reinforces the play’s central themes. Efua T. Sutherland skillfully uses setting as a dynamic force that mirrors societal realities and invites critical reflection on tradition, modernity, and moral responsibility.