Efua Sutherland

**Efua Theodora Sutherland** (wey dem born am 27 June 1924 – 2 January 1996) be Ghanaian playwright, director, dramatist, children ein book author, poet, educationalist, researcher, child advocate plus cultural activist. Some of de plays wey she write be *Foriwa* (1962), *Edufa* (1967), plus *The Marriage of Anansewa* (1975). She be de person wey start de Ghana Drama Studio, de Ghana Society of Writers, de Ghana Experimental Theatre, plus one community project dem call *Kodzidan* (Story House). As Ghana ein first playwright-director, she play big role inside how modern Ghanaian theatre take develop, plus she help introduce African performance traditions make dem study am for university level. She too be one of de first African people wey start book company, as she open Afram Publications for Accra insyd de 1970s. 

She start dey advocate for children demma culture from early 1950s go reach ein death. She help develop curriculum, literature, theatre plus film wey dey focus on Ghanaian children. For 1960, she do one photo essay *Playtime in Africa* plus Willis E. Bell, wey show how play be important for children demma growth. Later for 1980s, she lead how dem take develop one model public children’s park system for Ghana.

Efua Sutherland ein pan-African beliefs show inside how she support pan-Africanism and work plus African and African diaspora personalities from different areas. Some people wey she link plus be Chinua Achebe, Ama Ata Aidoo, Maya Angelou, W. E. B. Du Bois plus Shirley Graham Du Bois, Margaret Busby, Tom Feelings, Langston Hughes, Martin Luther King plus Coretta Scott King, Femi Osofisan, Félix Morisseau-Leroy, Es’kia Mphahlele, Wole Soyinka plus Ngugi wa Thiong’o. Insyd 1980, she write de first proposal for pan-African historical theatre festival inside Ghana wey go bring Africans from everywhere come together. Dis proposal later turn PANAFEST, de Pan-African Festival of Theatre Arts, wey dem first hold for 1992.

Efua Sutherland die for Accra insyd 1996 at de age of 71.

## Education den early career
Dem born am as Efua Theodora Morgue for Cape Coast, Gold Coast (wey now be Ghana), insyd where she study teaching for St Monica ein Training College for Mampong. After dat, she go England go continue ein education, wey she get BA degree for Homerton College, Cambridge University — she be one of di first African women wey study for der — plus she study linguistics for School of Oriental and African Studies (SOAS), University of London.

As she return come Ghana for 1951, she teach first for Fijai Secondary School for Sekondi, den later for St. Monica ein School (1951–54), plus she start write books for children. She later talk say: “I start write serious one for 1951. I fit even remember di exact time. E be Easter. I dey think about di problem of literature for my country for very long time. One time I dey do teaching practice plus my students for one village insyd, den I bore proper about di kind literature wey dem dey force di children read. E no get anything to do plus demma environment, demma social condition or anything. So I start write.”

Insyd 1954 inside, she marry Bill Sutherland, African American wey be Pan-Africanist, wey move come Ghana for 1953. Dem born three children – educationalist Esi Sutherland-Addy, architect Ralph Sutherland, den lawyer Amowi Sutherland Phillips – den she support ein husband make dem establish one school for Transvolta area insyd.

## Literary production
Wen Gold Coast turn independent nation wey dem call Ghana for 1957, Efua Sutherland organise Ghana Society of Writers (wey later turn Ghana Association of Writers), wey for 1960 dem bring out di first edition of di literary magazine *Okyeame*, wey Sutherland later turn editor.

Sutherland try different creative ways use storytelling plus oda dramatic forms wey come from Ghana ein own indigenous traditions. Her plays mostly base on traditional stories, but she too take ideas from Western literature, wey she take turn African folktale styles into modern dramatic theatre techniques. Plenty of her poems plus oda writings get broadcast for *The Singing Net*, one popular radio programme wey Henry Swanzy start, den later dem publish dem for ein 1958 anthology *Voices of Ghana*. Di 1960 first edition of *Okyeame* magazine carry her short story “Samantaase,” wey be one retelling of folktale. Her most known plays be *Edufa* (1967) (wey base on *Alcestis* by Euripides), *Foriwa* (1967), den *The Marriage of Anansewa* (1975).

For 1958 insyd, Sutherland found Ghana Experimental Theatre, wey base for Ghana Drama Studio wey she build, den President Kwame Nkrumah launch am for 1963 plus Joe de Graft as di first director. Di Drama Studio wey dey town insyd Accra turn training ground for plenty theatre practitioners from all parts of Africa. For 1962, she join di staff of di new School of Music and Drama, wey J. H. Kwabena Nketia head am. For 1963, as Sutherland take di role of Research Associate for Institute of African Studies, University of Ghana, she carry di Ghana Drama Studio join, wey turn off-campus training space wey dem call University of Ghana Drama Studio. Sutherland, apart from di field research plus teaching she dey do for African Dramatic Forms, be core member of di team wey design den establish di School of Performing Arts. She too dey concern plus traditional storytelling den development of community theatre, so she found Kodzidan (Story House) for Ekumfi-Atwia for Central Region, wey world recognise as pioneering model for theatre for development.

Sutherland mentored and was in turn inspired by many of Ghana's accomplished writers, including Ama Ata Aidoo, Kofi Anyidoho and Meshack Asare.

In the early 1970s, Sutherland co-founded the publishing company Afram Publications, which was incorporated in 1973, and in March 1974 began operating from her private studio in "Araba Mansa", her compound at Dzorwulu, Accra. Sutherland remained involved in Afram's editorial work until her death.

## Cultural activism and pan-Africanism
Sutherland ein work catch di attention of creatives from di global African world. Maya Angelou ein fifth volume of memoirs, *All God's Children Need Traveling Shoes*, show how Efua Sutherland give her emotional support plus open road for her insyd Ghanaian society during di 1960s, wey make dem turn close friends.

Sutherland meet Dr W. E. B. Du Bois when she lead Ghana ein delegation go di 1958 Afro-Asian Writers Conference for Tashkent (wey now be capital of Uzbekistan). When Dr Du Bois die for Accra, Ghana for 1963, she personally step in support Mrs Shirley Du Bois. For di 1980s insyd, Sutherland play big role inside establishing di W. E. B. Du Bois Memorial Centre for Pan African Culture plus di mausoleum for Du Bois ein house for Accra.

Insyd 1980, Sutherland write one paper wey she title *“Proposal for a Historical Drama Festival in Cape Coast”*, wey show how she take see di importance of di connection between Africa plus ein Diaspora. Dis idea inspire di venture wey later turn reality as PANAFEST, di first Pan-African Historical Theater Festival wey government support. Dem hold am for Cape Coast, Elmina den Accra, Ghana, from 12 go 19 December 1992, under di theme *“The Re-emergence of African Civilization.”*

Sutherland mentor plenty of Ghana ein accomplished writers, den she too take inspiration from dem. Some of dem be Ama Ata Aidoo, Kofi Anyidoho, plus Meshack Asare.

Insyd early 1970s insyd, Sutherland co-found one publishing company wey dem call Afram Publications, wey dem incorporate for 1973, den for March 1974, dem start operate from her private studio insyd “Araba Mansa,” ein compound for Dzorwulu, Accra. Sutherland keep dey involved for Afram ein editorial work till she die.

## Cultural activism den pan-Africanism
Sutherland ein work attract attention from creatives wey dey across di global African world. Maya Angelou ein fifth volume of memoirs, *All God's Children Need Traveling Shoes*, show how Efua Sutherland give her emotional support plus open way for her enter Ghanaian society during di 1960s, wey make dem turn close friends.

Sutherland meet Dr W. E. B. Du Bois when she lead Ghana ein delegation go di 1958 Afro-Asian Writers Conference for Tashkent (wey now be di capital of Uzbekistan). As Dr Du Bois die for Accra, Ghana for 1963, she personally step in support Mrs Shirley Du Bois. For di 1980s insyd, Sutherland play important role for establishing di W. E. B. Du Bois Memorial Centre for Pan African Culture plus di mausoleum wey dey for Du Bois ein house for Accra.

Insyd 1980 insyd, Sutherland write one paper wey ein title be *“Proposal for a Historical Drama Festival in Cape Coast”*, wey show how she take see di importance wey she attach to di connection between Africa plus di Diaspora. Dis idea inspire di venture wey later turn reality as PANAFEST, di first Pan-African Historical Theater Festival wey government support. Dem hold am for Cape Coast, Elmina, den Accra, Ghana, from 12 go 19 December 1992, under di theme *“The Re-emergence of African Civilization.”*

## Advocacy for children
Sutherland preside over Ghana ein ratification of di UN Convention on the Rights of the Child (Ghana be di first country wey do am), plus she chair di National Commission on Children from 1983 go 1990 — period wey mark di most active den comprehensive child advocacy for national level inside Ghana ein history. For dis position inside, she lead plenty innovative programmes, including one Child Education Fund to support communities wey no dey get enough, de Mobile Technical Workshop wey carry science learning go poor or rural children, plus she secure land to start model child-centred park den library complexes across di country. She lay di foundation for Mmofra Foundation, wey since 1997 dey operate as one civic organisation wey dey enrich di cultural plus intellectual lives of all children for Ghana. For 2012 insyd, dem launch *Playtime in Africa Initiative*, wey dem take inspiration from her 1961 book wey get di same name, to bring back strong advocacy for child-friendly public spaces.

Her last most important work for Institute of African Studies, Legon, be her *Children's Drama Development Project*, wey target development of materials, methods plus staff for programmes of creative dramatics both insyd school and outside school. UNICEF invite Sutherland make she join worldwide network of scholars wey dey work on one code of human rights to protect children.

Florence Laast, wey be founder of St Martin de Porres School for Accra, talk how Sutherland ein mentorship impact her own life. She describe her as “one of di greatest thinkers of our time” wey believe say “di home be our first classroom, plus our parents be di first teachers.”

## Legacy

* After dem build de National Theatre of Ghana for 1992 on top di land wey Drama Studio dey before, dem construct one replica of di Studio for University of Ghana ein campus as part of di facilities of di School of Performing Arts. As University of Ghana celebrate ein 50th anniversary, dem rename di Studio to *Efua Sutherland Drama Studio*.

* One 12-acre space for central Accra wey dem reserve as children ein park come through Efua Sutherland ein advocacy, den dem name am after her.
* *Efua Sutherlandstraat* be one of di plenty streets for one area inside Amsterdam, The Netherlands, wey dem name after important women writers den activists.
* Mmofra Foundation, wey start dey active since 1997, na Efua Sutherland establish am during di last years of her life, den e dey dedicated to enrich di cultural plus intellectual lives of all children for Ghana. For over 20 years now, thousands of children benefit from di literary, nature-sensitive, plus creativity-oriented programmes wey di Foundation dey run.
* One green cultural space or park wey dem call *Mmofra Place* for Dzorwulu area insyd Accra dey open to children from all backgrounds, thanks to Efua T. Sutherland ein estate.
* *Efua Sutherland Hall* be one student hall of residence for Ashesi University for Berekuso, Ghana.
* *The Legacy of Efua Sutherland: Pan African Cultural Activism*, one book wey dem publish for her honour, come out for 2007. Anne V. Adams plus Esi Sutherland-Addy be di editors. Di contributors be: Anne Adams, Esi Sutherland-Addy, Ama Ata Aidoo, Maya Angelou, Kofi Anyidoho, Sandy Arkhurst, William Branch, Margaret Busby, John Collins, David Donkor, James Gibbs, Comfort Caulley-Hanson, Biodun Jeyifo, Robert July, Mabel Komasi, Florence Laast, John Lemly, Jurgen Martini, Michael McMullan, Penina Mlama, Femi Osofisan, Sandra Richards, Amowi Sutherland Phillips, Ola Rotimi, Margaret Watts, Henry Wellington, plus Vivian Windley.
* Writer, poet, lecturer plus diplomat Abena P. A. Busia dedicate one chapter to Efua Sutherland (“To the Roadmaker: Fragments of a Meditation”) insyd her poetry book *Traces of a Life: A Collection of Elegies and Praise Poems* (Ayebia Clarke Publishing, 2008).
* Sutherland get honoured plus one Google Doodle on 27 June 2018, wey be di day she for turn 94 years.

## Works briefly annotated
Sutherland try different creative ways use storytelling plus oda dramatic forms wey come from Ghana ein own indigenous traditions. Her plays mostly base on traditional stories, but she too take ideas from Western literature, wey she take turn African folktale styles into modern dramatic theatre techniques. Plenty of her poems plus oda writings get broadcast for *The Singing Net*, one popular radio programme wey Henry Swanzy start, den later dem publish dem for ein 1958 anthology *Voices of Ghana*. Di 1960 first edition of *Okyeame* magazine carry her short story “Samantaase,” wey be one retelling of folktale. Her most known plays be *Edufa* (1967) (wey base on *Alcestis* by Euripides), *Foriwa* (1967), den *The Marriage of Anansewa* (1975).

Insyd *Edufa*, de main character wey ein name be de same as di title dey try run away from death by trick ein wife, Ampoma, make she take di death wey oracles predict for am. For inside di play, Sutherland use traditional Ghanaian beliefs for divination plus how traditional den European ceremonies dey mix, to show Edufa as one rich den successful modern man wey ein people respect well well. De play use traditional ritual plus symbolism, but di story dey show how Edufa, inside ein capitalistic mindset, abandon di moral responsibility wey he owe ein wife, while ein wife plus di other women support di morality of di past.

Insyd *Foriwa*, di main character, wey be de daughter of de queen mother of Kyerefaso, plus Labaran, one graduate from northern Ghana wey live simple life, bring enlightenment come Kyerefaso — one town wey turn backward den ignorant sake of say di elders no wan learn new ways. De main theme for *Foriwa* be how old traditions plus new ways fit work together. De play carry national theme to promote new national spirit for Ghana wey go make people open to new ideas plus encourage cooperation between different ethnic groups.

*The Marriage of Anansewa: A Storytelling Drama* (1975) be di work wey people dey see as Sutherland ein most valuable contribution to Ghanaian drama plus theatre. For dis play inside, she turn traditional Akan Ananse Spider stories (*Anansesem*) into new dramatic structure wey she call *Anansegoro*. *Nyamekye* (wey be like *Alice in Wonderland*), one of her later plays, show how di folk opera tradition influence her work.

Sutherland too be author of books for children. Some of dem be two animated rhythm plays: *Vulture! Vulture!* plus *Tahinta* (1968), den two pictorial essays wey carry photographs by Willis Bell (1924–2000): *Playtime in Africa* (1960) and *The Roadmakers* (1961). Plenty of her short stories fit describe as rhythmic prose poems. *Voice in the Forest*, one book wey collect folklore plus fairytales of Ghana, come out for 1983.

*Playtime in Africa* be described as “a groundbreaking book on Ghana's play culture,” wey Sutherland see as very important for developing di minds plus bodies of young people. Di book come out just three years after Ghana ein independence, den e be di first proper documentation of children demma play culture for Ghana. Di book bring children demma daily lives to di front for society top, plus e help start one indigenous movement for writing, publishing, den drama development for children.

*A Voice in the Forest* be one text wey strongly show di political, economic, plus social complexity of colonialism den cultural relativism for Ghana, especially how e relate to children. Di text be retelling of one Akan folktale, wey explore traditional cultural values through di role of di trickster character. Di story talk about one man wey ein name be Bempong, wey unknowingly discover one *Samanta*, wey be wood nymph, den carry her go ein village. At first, Bempong believe say di Samanta be lost girl wey dey wander alone for inside forest. For di first part of di story, di Samanta no talk anything. E no be until Bempong cut her hair—wey grow wild—trying to tame am, wey he realize say dis girl be Samanta, one wood nymph—*“creature of strange magical powers.”* As she get angry, di Samanta find ein voice, den she curse di village, say dem no go get food again until she get her hair back. Di hero for inside di book be Afrum, Bempong ein son, wey people for di village dey see as fool. Sutherland ein choice to celebrate di fool follow long tradition of how African literature dey use di trickster figure.

## Honours
Insyd 2020 insyd, during one event wey mark International Women’s Day, 3Music Awards honour Sutherland for all di achievements wey she make for di entertainment industry inside.

Insyd March 2024 insyd, Efua Sutherland ein estate launch centenary celebration of her life plus legacy for Accra, wey dem take unveil plans to mark di year wey she for turn 100.

## Selected bibliography

* with Willis E. Bell, *The Roadmakers: a picture book of Ghana*(for children). Accra: Ghana Information Services / London: Newman Neame, 1961, 1963
* with Willis E. Bell, *Playtime in Africa* (for children), New York: Atheneum, 1962
* *Edufa* (play), Longman, 1967
* *Foriwa: A Play in Three Acts*, Accra-Tema: State Publishing Corporation, 1967
* *Tahinta* (1968)
* *Vulture! Vulture! and Tahina: Two Rhythm Plays*, Tema: Ghana Publishing House, 1968
* *Odasani* (play), Accra: Anowuo Educational Publications, 1969
* with Willis Bell, *The Original Bob: The Story of Bob Johnson, Ghana's Ace Comedian* (play), Accra: Anowuo Educational Publications, 1970
* *Anansegoro: Story-Telling Drama in Ghana*, Accra: Afram, 1975
* *The Marriage of Anansewa* (play), London: Longman, 1977, 1980; Washington, DC: Three Continents Press, 1980
* *The Voice in the Forest: A Tale from Ghana*, Philomel Books, 1983

## Further reading

* Anne V. Adams and Esi Sutherland-Addy, eds (2007). *The Legacy of Efua Sutherland: Pan-African Cultural Activism*, Banbury: Ayebia Clarke Publishing. 
* Fadare, Nureni Oyewole. "The Folkloric Tradition and the Female Characters in Efua T. Sutherland's and Ama Ata Aidoo's Plays". *Ibadan Journal of English Studies* 7 (2018):341–360.
* James Gibbs, "Efua Sutherland: The 'Mother' of the Ghanaian Theatre", in *Nkyin-kyin: Essays on the Ghanaian Theatre* (Cross/Cultures 98), Rodopi, 2009.
* Salm & Falola (2002). *Culture and Customs of Ghana*. Greenwood Press. 
* Esi Sutherland-Addy, "Creating For and With Children in Ghana — Efua Sutherland: A retrospective", in Michael Etherton (ed.), *African Theatre: Youth*, James Currey Ltd, 2006, pp. 1–15.

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