Julie Okoh

**Juliana (Julie) Omonukpon Omoifo Okoh** (bi Ubiaja, ọjọ ẹkẹlẹ efu ochi ẹjọ efu ọdọ 1947) i chẹnẹ Nigeria ki ak'ọtakada iya, ak'onẹ ẹñwu manyi aj'ija k'oji abobulẹ ki chi professor of theatre theory yi University of Port Harcourt kw'efu ọdọ 2004 tefu ọdọ 2017. Ki an'ọla ki lugbo ojanẹ che, i chẹ ka efu ami ọtakada nwu che*The Mannequins* (1997), *Edewede* (ọdọ 2000) manyi*Closed Doors* ( ọdọ 2007). i chi Fulbright Scholar manyi efu ọdọ 2011 i gba Lifetime Achievement Award kw'ugbo abo Nigerian Theatre Artists (SONTA)

## Ọhiala
Ubiaja ku ma bi ejuọwọ south Nigeria yi Edo State, Juliana Omonukpon Omoifo ch'ọma Augustine Azamuoisa Omoifo, ki ch'akonẹ ẹñwu manyi court clerk, manyi ọya ki ag'ukpo manyi ẹnẹ ki ad'eju tẹ store. Ku ma nẹ gba unyi ọmẹmẹlẹ, i chẹnẹ ẹkẹlu efu akw'ọra unyi ọma mẹjọ. Attah ñwu kpai Iye ñwu a chẹñwu ọgwu nyọnyọ; Attah ñwu ayọ ñwu eli manyi ya gwi guitar abalẹ Iye ñwu chẹnẹ ki ak'ita ogwuchẹkwọ ki d'efu abo ku ma t'ido Ikhio  ku ma chẹñwu igod. I n'ọkọ ñwu Joseph Donatus Okoh (ku ma bi efu ọdọ 1941), ẹnẹ ki chi professor efu ukọchẹ yi University of Port Harcourt. Ma bi ọma mẹlẹ.

Anubi ki ch'ukọchẹ ẹdọ mẹfa ñwu kpa efu Ubiaja, Juliana Omoifo loti Our Lady of Lourdes Secondary School yi Uromi. Anubi lẹ i n'ukọlọ kpai Ministry of External Affairs efu Lagos ugbo ki k'añwago GCE. Todu ki che nyọnyọ efu añwago lẹ i na ch'ukọchẹ ọdọ meta uña bilingual secretary yi Federal Training Centre. Efu ọdọ 1972, Ma mu gba t'unyi ukọchẹ Loyola University Chicago ugbo ki che kpa efu French and English Literature efu ọdọ 1976. I lo na gb'ọtakada master degree efu French Literature kwi University of Alberta ( efu ọdọ 1979). Anubi lẹ i lo ti University of Bordeaux III  ugbo ki ch'ukọchẹ French and English Theatre, ki nẹ master degree efu ọdọ 1989 manyi PhD efu ọdọ 1991.

Efu ọdọ 2000 kpai ọdọ 2001, Okoh lo ti United States ugbo ki che Fulbright fellow yi Smith College, ugbo ki ch'ukọlọ uña akonẹ ẹñwu ononojo yi North Carolina State University and the University of Massachusetts at Amherst. Efu ọdọ 2004, i chanẹ ech'ukọlọ ki nana uña professor of theatre theory manyi eche akpabiẹ University of Port Harcourt.

Julie Okoh tanẹ kw'oji ukọlọ efu ọdọ 2017.

## Eche dufu

Okoh kọ ọtakada iya ki tu ogwu-ẹgwa le, uwewe ma chẹ dufu, i ñọ k'ọtakada ogbogaga efu French kpai English oji theatre, ugwu kpai ẹñwu ki l'ugbo ọnẹkẹlẹ kpai onobulẹ .

Ami ọtakada Iya ñwu:

* Ọdọ 1997: *Mask: A Play for Schools and Colleges*
* Ọdọ 1997: *The Mannequins*
* Ọdọ 2000: *Edewede: The Dawn of a New Day*
* Ọdọ 2000: *In the Fullness of Time*
* Ọdọ 2002: *Who Can Fight the Gods?*
* Ọdọ 2005: *Aisha*
* Ọdọ 2007: *Closed Doors*
* Ọdọ 2008: *The Trials*
* Ọdọ 2009: *A Haunting Past: Drama*
* Ọdọ 2010: *Our Wife Forever: Drama*
* Ọdọ 2014: *Cry for Democracy*
* Ọdọ 2018: *Thorny Path*

## Uloko
Okoh nẹ uloko wewe oñwu che:

* 2000: Senior Fulbright Scholar
* 2011: Lifetime Achievement Award from the Society of Nigerian Theatre Artists (SONTA)

## Ẹnwu ku ma kọ l'ugbo ukọlọ Julie Okoh

* Abah, Okwute J. "Prognosis for the Nigerian University System in The 21st Century: A Study of Julie Okoh's *Who can Fight the Gods?* and Ojo Rasak Bakare's *Once Upon a Tower*." *Nigerian universities in the 21st century: issues and perspectives* 1 (2007): 135ff.
* Amaefula, Rowland Chukwuemeka."Constructing Femininity through Female Genital Mutilation: An Ambivalent Discourse on Okoh's Edewede." Ikoro 7.2 (2017):42-54.
* Asen, Rosemary. "CORRUPTION IN THE NIGERIAN SOCIETY: LESSONS FROM JULIE OKOH’S *WHO CAN FIGHT THE GODS*." *Journal of the Arts/Humanities* Volume 1, no. 1 (2018).
* Asen, Rosemary. "Sexual Exploitation and Gender Inequality: Lessons from Okoh’s *The Mannequins* (1997)." *Hybrid Journal of Literary and Cultural Studies* 2, no. 3 (2020): 27-36.
* Asiegbu, Nkechi. "The Role of Women in the Subjugation of Women: The Old Women in Julie Okoh’s *Selected Plays*." *The Crab: Journal of Theatre and Media Arts* 9 (2014): 33-47.
* Ejiofor, B. Asodionye. "Widowhood Levirate Rites and The Politics of Choice in Julie Okoh’s *Our Wife Forever*." *AFRREV IJAH: An International Journal of Arts and Humanities* 8, no. 2 (2019): 60-70.
* Ifeanyichukwu, Frank. "Cultural Negligence as Key Cause of Terrorism in Nigeria: A Study of Julie Okoh's *We Are Rivers*." Development 9, no. 1 (2019).
* Imo, Edward Egbo. "The “Chauvinistic” Men of Julie Okoh: Victims of Feminist Bias." *Journal of Gender and Power* 10, no. 2 (2018): 53-71.
* Iyav, Ben Due. *Marxist Aesthetics and Marxist Feminist Aesthetics in Selected Plays of Olu Obafemi and Julie Okoh.* PhD diss., 2014.
* Nutsukpo, Margaret Fafa. 2020. Women, protest and social change in Julie Okoh’s *Edewede*.  *AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies* 9.1:28-40.
* Nwafor, Friday. "Drama as a Tool for the Campaign against Female Genital Mutilation: Juliana Okoh’s *Edewede* as a Paradigm." *African Research Review* 13, no. 1 (2019): 86-92.
* Ojediran, Oludolapo. "Exploration of the Women Folk Challenges in Julie Okoh's *The Mannequins*." (2017).
* Okolocha, H. Oby, and Sophia I. Akhuemokhan. Women’s Human Rights Violations: Transformative Processes in Julie Okoh’s *Edewede* and Stella Dia Oyedepo’s *Brain Has No Gender.* *Rupkatha Journal on Interdisciplinary Studies in Humanities* 4, no. 2 (2012).
* Ojediran, Oludolapo. "Female circumcision: Inexpressiveness and loss in Julie Okoh’s *Edewede.*" In *Gender and Development in Africa and Its Diaspora*, pp.&nbsp;49–55. Routledge, 2018.
* Yeseibo, John Ebimobowei. "Towards a feminist theatre in Nigeria: Julie Okoh’s *Closed Doors* examined." *Journal of Gender and Powe*r 10, no. 2 (2018): 9-24.

## Ẹtẹ ñwu