A young female is unsuccessful without a man in Nigeria?

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Chimamanda Ngozi Adichie
Chimamanda Ngozi Adichie

Chimamanda Ngozi Adichie

“…I am infuriated by the assumption that to be youngish and female means you are unable to earn your own living without a man” – Chimamanda Ngozi Adichie

A humid night two years ago, sitting beside a male friend in his car, and I roll down my window to tip a young man, one of the thousands of unemployed young men in Lagos who hang around, humorous and resourceful, and help you park your car with the expectation of a tip. I brought the money from my bag. He took it with a grateful smile. Then he looked at my friend and said, “Thank you, sir!”

This is what it is to be youngish (early thirties) and female in urban Nigeria. You are driving and a policeman stops you and either he is leering and saying “fine aunty, I will marry you,” or he is sneering, with a taunt in his demeanour and the question so heavy in the air that it need not be asked: “which man bought this car for you and what did you have to do to get him to?” You are reduced to two options; to play angry and tough and to thereby offend his masculinity and have him keep you parked by the roadside, demanding document after document. Or to play the Young Simpering Female and massage his masculinity, a masculinity already fragile from poor pay and various other indignities of the Nigerian state. I am infuriated by these options. I am infuriated by the assumption that to be youngish and female means you are unable to earn your own living without a man. And yet. Sometimes I have taken on the simpering and smiling, because I am late or I am hot or I am simply not dedicated enough to my feminist principle.

I have a friend who is, on the surface, a cliché. An aspirational cliché. She has a beautiful face, two degrees from an American Ivy League college, a handsome husband with a similar educational pedigree and two children who started to read at the age of two; she is always at the top of Nigerian women achievers lists in magazines; has worked, in the past 10 years, in consulting, hedge funds and non-governmental organisations; mentors young girls on how to succeed in a male-dominated world; recites statistics about anything from trade deficits to export revenue. And yet.

One day she told me she had stopped giving interviews because her husband did not like her photo in the newspaper, and she had also decided to take her husband’s surname because it upset him that she continued to use hers professionally. Expressions such as “honour him” and “for peace in my marriage” tumbled out of her mouth, forming what I thought of as a smouldering log of self-conquest.

Another friend is very attractive, very educated, sits on boards of companies and does the sort of management work that is Greek to me. She is single. She is a few years older than I am but looks much younger. The first board meeting she attended, a man asked her, after being introduced, “So whose wife or daughter are you?” Because to him, it was the only way she would be on that board. She was, it turned out, a chief executive. And yet. She lives in a city where her friends dream not of becoming the CEO but of marrying the CEO, a city where her singleness is seen as an affront, where marriage carries more social and political cachet than it should.

Another friend is a talented writer, a forthright woman who makes people nervous when she speaks bluntly about sex, a woman who describes herself as a feminist, and who talks a lot about gender equality and changing the system. And yet. She earns more than her husband does but once told me that he had to pay the rent, always, because it was the man’s duty to do so. “Even if he is broke and I have money, he will have to go and borrow and pay the rent.” She paused, rolling this contradiction around her tongue, and then she added, “Maybe it is because of our culture. It is what they taught us.”

There is, of course, always that “they”. Two years ago, we were slumped on sofas in his Lagos living room, my brother-in-law and I, talking about politics as we usually did.

“I think I’ll run for governor in a few years,” I said in the musing manner of a person who only half-means what they say.

“You would never be governor,” he said promptly. “You could be a senator but not governor. They won’t let a woman be governor.”

What he meant was that a governor had too much power, and was in control of too much money, none of which could be left to a woman by that invisible “they”. And yet. I realise that 15 years ago he would not have said, “you could be a senator.” Civilian rule brought greater participation of women in politics and the most popular and most effective ministers in the past 10 years have been women. In the next decade, my brother-in-law could be proved wrong. In the next three decades, he will certainly be proved wrong. But she would have to be married, the woman who would be governor.

My first novel is on the West African secondary school curriculum. My second novel is taught in universities. One question I am almost always certain of getting during media interviews is a variation of this: we appreciate the work you are doing and your novels are important but when are you getting married? I refuse to accept that the institution of marriage is what gives me my true value, and I refuse to come across as silly or coy or both. The balance is a precarious one.

“Would you ask that question to a male writer my age?” I once asked a journalist in Lagos.

“No,” he said, looking at me as though I were foolish. “But you are not a man.”
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Freedom, Opportunity and Tolerance

Sitting at less than five metres from the former President of Ghana, John Kufuor, I listened to what turned out to be one of my favourite public lectures in my adult life. The venue was the Rhodes House in Oxford. President Kufuor was still in power then.


Three words summarised his incisive paper: freedom, opportunity and tolerance. He said in a university, individuals were free, they had opportunity to express their ideas, but these must be nurtured with tolerance if progress was to be made.


I have always held a similar view that we proceed to a higher level of consciousness only when we can tolerate other people’s views. This idea of tolerance, or what some social scientists would call ‘toleration’, does not mean jettisoning our independent opinions for those of other folks. What tolerance actually means is that we are broad-minded, open-minded, namely we reconcile our views with those of others.

Freedom to think, act, and make judgements about issues of life is never absolute. But, in one way or the other, we are all, more or less, free, in the highly globalised, opinionated and competitive world.


Opportunity is available, even though it is not always widespread. But if we dig deep, inside of us, we will see modicums and atoms of opportunity, inherent in all of us. What we need most to keep freedom and opportunity afloat is tolerance. We need to reconcile ourselves with others. We need to complain less, and act more. We need to do as Mahatma Ghandi of India did: be the change we wish to see in others. If we all seize opportunity that comes our way, and we cherish our freedom, and respect the freedom of others, within the context of a tolerant global society, the world, not only us, will be better for it.


Let’s go back to some intellectual basis of reconciliation of opposite views and epochal events. Remember Karl Marx, and remember Thomas Kuhn. Karl Marx (1818-1883) argued fervently, that historically, every society is not static, and that after primitive communism comes slavery, then feudalism, then capitalism, then socialism, then classless communism, which he believed will be the result of all former epochs.

What this means is that all historical stages of development are never perfect, and that remnants of them are carried over into a new beginning. For Thomas Kuhn (1922-1996), the writer of The Structure of Scientific Revolutions, there is always a Thesis, the reigning paradigm, which then gives away to an Anti-thesis, which in turn gives a way to a resultant outcome called the Synthesis. What this means is that no knowledge is absolute, and that no matter what we know of an issue, there will always be an additional knowledge about it.

This makes us remember the position expressed by the award-winning writer of Half of a Yellow Sun, Chimamanda Ngozi Adichie, who passionately spoke about ‘The Danger of a Single Story’ at TED Talks. Please see and hear her out on possibly ted.com or TalkAfrique.com, and you will get more insights of what she meant, and what I am actually talking about.


It is only a dialectic and eclectic approach to issue, or what Dr Nnamdi Azikiwe called the ‘harmony of opposites’ that can enrich our freedom as a people, increase our opportunities as a human race , and in turn, make tolerance a virtue we all can share, we all must share, and we all will share

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The Black woman’s new look

"Naked woman, black woman. Dressed in your color that is life, in your form that is beauty!", reads the famous line from Leopold Senghor’s Femme Noire. And yet, day in day out, the man regarded as one of the most revered African intellectuals of the last century is ridiculed down to his toe nails. Natural beauty? What natural beauty. From New York, London, Paris to Brazzaville, via Abidjan, Bamako, Dakar, Douala…, it is becoming increasing rare to come across Black women strutting their naturally strong feminine magnetism. Apart from the outrageous skin lightening phenomenon, the sexy afro hair has not only given way to synthetic hair, but hairs that are grown on Indian, Brazillian and Chinese heads. Congo, a typical African setting, has become the quintessential burlesque of the counterfeited African woman. Needless to say, it is a high return enterprise for a woman who proudly calls herself the Congolese "Marilyn Munroe"!
It is a fine September morning in Brazaville, Congo, and the bourgeois species has invaded the main morgue in the city. They are here to make sure that the body of a defunct dear one is properly appareled and ready for a big showy funeral. As paradoxical as it may seem, it is here in this morgue that the tired flabby skin and breasts of a corpse imbibed with hydroquinone is reborn. The low neckline dress or decolté thrown on the corpse to show its expensive breast job is confusing! "If God is dead, everything is permitted". Dostoevsky and Nietzsche couldn’t be more right. After all, humility is a tributary of that great river called pride. In Brazzaville, what should be a place of meditation and mourning has become a replica of the red carpet at the Cannes film festival. Women go to funerals to show off their curves, bosoms, new hair. Funerals are all about whetting sexual appetites. Mourning has been relegated to the background.
But even more surprising is that out of the 500 women present here at the morgue, 480 have long discarded their natural hair. They are either wearing wigs or weaves. Woe betide anyone who dares break the code of new womanhood and not wear a wig! And not just any wig. It has to be Brazilian or Indian! Insults and mockery against the prodigal daughter who doesn’t are virulent. "Brazilian" and "Indian" hair are second to none. And the Indians, whose hairs are transformed into wigs and are certainly unaware of their own abuse, continue to brighten the days of hundreds of Congolese women who line up to buy or rent fake hair with a mutinous urge, thousands of miles away.
In a corner of the morgue, one of the womenfolk’s "Indian" hair flows all the way down to caress her huge round buttocks, whilst her three year old daughter’s "Brazilian" dances the samba on her shoulders. "Without it (the Indian), I feel uneasy," says the Indian-haired Black mother, with a smirk. "From the first lady to the very last, we are all keen on frills, without which we are nothing". No one dares to challenge her as all eyes covetously move to another woman in the middle of the room, brazenly sporting nothing natural; from her bleached skin, false eyelashes, enhanced breasts, false nails, nose job, surgically implanted bluish green eyes, and of course her long Beyonce-looking wig. She is apparently a Congolese French-born Parisian gallery manager. "Like all women, I need to change my hairstyle from time to time for that surprise effect. This requires wigs or weaves, without which I am not in harmony with myself" she says.
And Congo is the land of The Miss. There are so many pageants to make Donald Trump run for dear life! The list is inexhaustible… Miss Fifty (years), Miss Forty (years), Miss fight against flies, Miss Total, Miss Fortune … All these women spend up to 700 Euros each (450 000 FCFA) on wigs. The Lace Wig, especially, can easily reach the sum of 1000 Euros.
"As long as there are black women, I wont be found wanting"
And in this big burlesque oratorio – where the most unnatural is queen – a young woman has found her perfect act. She organizes the orchestra of fakes. Thirty something, her unnaturally lightened skin is imbibed in cortisone. She would be white had it not been for those dark and stubbornly natural knuckles. Nonetheless, she’s got the title all the Bacongo women would die for: "the Congolese Marilyn Monroe". She is a natural blonde. Natural because her wig is. She gets her hair from Brazil. A businesswoman at heart, she does not own a wig or weave shop. No, she does not. She has made it big by renting out wigs that come straight from Brazil. More than four times per year, she travels from Brazzaville to Rio. Her business is a force to reckon with.
Every single Saturday, a myriad of superficial and extremist women armed to the nail hasten to her home at dawn, hours before she gets out of her satin linen bed. They have to be among the first arrivals to get the best. They are all fanatic converts of the "mine" (the art of borrowing clothes or accessories). Among them, are those who would rent a wig for 10 000 FCFA at the weekend, while there are those who rent a wig for 30 000 FCFA per week. The business woman has hundreds of customers in Brazzaville, with the exception of those who live on the outskirts.
Only recently, she rented a wig to a Member of Parliament for 50 000 CFA francs for two days. "The MP counted five fresh notes of 10 000 CFA francs without batting an eye, and she did not even try to bargain," enthused the entirely artificial Marilyn Munroe, adding: "As long as there are black women, I wont be found wanting: my head is throbbing with so many ideas for black beauty …" One of her biggest wishes is to have more customers like that good MP. And for good reason: "wigs rented by VIPs are returned intact, unlike those rented out to those ordinary girls". Besides, she wants to penetrate foreign markets. "Why not Cameroon where even the simple braids have not been seen for the past five thousand or so years?"
Her success has however stirred jealousy. And gossiping is rife: "Witchcraft partly explains her success," "She has lovers in every street corner, they are the ones who give her the money for her numerous trips," etc.. But "Marilyn Monroe" won’t be bothered. "It is true that many men want me! But my one and only boyfriend is enough!" What she fails to explain is her boyfriend’s probable fetishist tendencies; one that involves dating a woman who is artificially made from the crown of her head to the soles of her feet with the exception of her…
Notwithstanding the burlesque charade, "Marilyn Monroe" can be spared for one simple reason: Congo is an open madhouse. A place where everyone applauds everyone for no reason at all. On all fronts and at all levels there is someone ready to applaud… an applause for power cuts, one for water cuts, another one for that new dance move in town, how about a big one for Marilyn Munroe’s new wigs, an even louder one for that skin lightening product that bleaches the stubbornly dark skin on the knuckles? Yes the one with its own Black mind! Here, Michael Jackson is not seen as an artist, but one to be emulated.
A few months ago, Kenyan women had declared a sex strike to urge politicians to make more constitutional reforms. Men should do the same to encourage women to become more natural. But alas! some of the very men who can encourage that change are busily applying skin lightening creams and lotions. Do not say you were not forewarned, if you come across a poster with a male Congolese singer.
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The Danger of a Single Side Story, by Chimamanda Adichie

Our lives, our cultures, are composed of many overlapping stories. Novelist Chimamanda Adichie tells the story of how she found her authentic cultural voice — and warns that if we hear only a single story about another person or country, we risk a critical misunderstanding.

Why you should listen to her:

In Nigeria, Chimamanda Ngozi Adichie’s novel Half of a Yellow Sun has helped inspire new, cross-generational communication about the Biafran war. In this and in her other works, she seeks to instill dignity into the finest details of each character, whether poor, middle class or rich, exposing along the way the deep scars of colonialism in the African landscape.

Adichie’s newest book, The Thing Around Your Neck, is a brilliant collection of stories about Nigerians struggling to cope with a corrupted context in their home country, and about the Nigerian immigrant experience.

Adichie builds on the literary tradition of Igbo literary giant Chinua Achebe—and when she found out that Achebe liked Half of a Yellow Sun, she says she cried for a whole day. What he said about her rings true: “We do not usually associate wisdom with beginners, but here is a new writer endowed with the gift of ancient storytellers.”

“When she turned 10 and read Chinua Achebe’s Things Fall Apart, about the clash between Igbo tradition and the British colonial way of life, everything changed: ‘I realized that people who looked like me could live in books.’ She has been writing about Africa ever since.” Washington Post

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