| Abstract
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In most African societies, traditional rituals are sometimes used as tools for cultural inferiorization of women and girls. Out of frustration, those at the receiving end of such rituals may resort to a variety of performative and subversive tactics aimed at debunking them in society. This essay seeks to examine Tracie Utoh–Ezeajugh's portrayal of women in “Out of the Masks.” The essay particularly seeks to examine how the dramatist responds to and represents the position and role of women in the traditional social context and in the context of changing social values in her play. Through a careful analysis of key episodes of five young women, the essay argues, an insurrection aimed at saving the female race “from further institutional molestation and humiliation” is successfully mounted in the play. In the end, female characters response to social, economic, political, and cultural oppression through their strategic planning and careful organization in the play. In most African societies, traditional rituals are sometimes used as tools for cultural inferiorization of women and girls. Out of frustration, those at the receiving end of such rituals may resort to a variety of performative and subversive tactics aimed at debunking them in society. This essay seeks to examine Tracie Utoh–Ezeajugh's portrayal of women in “Out of the Masks.” The essay particularly seeks to examine how the dramatist responds to and represents the position and role of women in the traditional social context and in the context of changing social values in her play. Through a careful analysis of key episodes of five young women, the essay argues, an insurrection aimed at saving the female race “from further institutional molestation and humiliation” is successfully mounted in the play. In the end, female characters response to social, economic, political, and cultural oppression through their strategic planning and careful organization in the play.
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