Characterisation and the Feminist Angle in Irene Salami's More than Dancing

2025 | Volume 1, No. 2 | https://www.hjahe.org A Publication of the Humanities Unit, School of General Studies, University of Nigeria, Nsukka, Enugu State, Nigeria Original Research Characterisation and the Feminist Angle in Irene Salami’s More than Dancing Joseph Ali Dameh Bayero University, Kano, Nigeria Article history Received: May 16, 2025 Accepted: August 04, 2025 Published: October 30, 2025 Abstract The representation of female characters in works of art has always come under robust scrutiny. Overtime, feminists have argued that male authors have poorly and/or unfairly portrayed female characters in their art. The oeuvre of Nigeria’s playwriting has a large cache of male authors who have been writing decades prior to the emergence of female playwrights. Wole Soyinka, Ola Rotimi, J. P Clark and Femi Osofisan are house-hold names in Nigeria’s dramatic scene. It is on this note that this paper embarks on an analysis of the female characters of a contemporary female Nigerian playwright, Irene Salami. Her play, More than Dancing (2003) has a vast display of female characters in contradistinction to the plays authored by males. Deploying radical feminism and documentary observation, this paper attempts a character analysis of the female characters in the selected play and observes that Irene Salami, through More than Dancing has responded radically to patriarchal mechanisms both in Nigeria’s socio-political milieu on the one hand, and the world of literary drama. Through the play, the motion for more women participation in politics and the potential ability of women to mobilise themselves for positive sociopolitical emancipation is possible. Introduction Issues pertaining the female gender and their subjugation and “perceived subjugation” has been at the core of literary works whose foundations are aimed at analyzing this gender by male and female dramatists. Methuselah (2010:1) argues that “the Nigerian theatre had been dominated by men and their writings, the portrayal of women has been poor, portraying them as housewives, docile, unexposed, unreasonable and sometimes even witches…” This paper focuses on the representation of female characters by Irene Salami in her play – More than Dancing, with a view to examine how the representation of these female characters contrast the stereotypes created by male playwrights about women. Playwriting has been a male dominated art, most especially from the very early beginnings. The classical Greek age had male playwrights such as Sophocles, Euripides and Aeschylus; there are arguably no records of female playwrights during that period. Even, in theatre practice, Greek women were prohibited from acting, instead, effeminate men and masks were used to play-out female characters, Case (1985: 317) further adds that: The absence of women playwrights became central to feminist investigations. The fact there was no significant number of extant texts written by women for the stage until the 17th century produced a rather astounding sense of absence in the classical traditions of the theatre. The silence of women’s voices in these traditions led feminists’ historians who were interested in women playwrights to concentrate on periods in which they emerged. The same can be said of playwriting and literary production in Nigeria. The entire literary scene of the nation has been the domain of male writers. (Obafemi 1996) writes that it was in 1954 that James Ene Henshaw’s This is Our Chance was published, the first play by a Nigerian, a male. Between 1954 and 1968, other male playwrights such as Wole Soyinka, Ola Rotimi and Duro Ladipo became household names in Nigerian dramatic sphere. It was not until 1968, more than a decade after the first published play by a Nigerian male - James Henshaw’s This is our Chance (1954) - did the first female Nigerian playwright, Zulu Sofola come to limelight. Between 1954 and 1968 however, the literary scene was inundated with the plays by male playwrights such as Wole Soyinka, John Pepper Clark and Ola Rotimi. Feminists’ Concerns Female playwrights argue that males are incapable of creating and representing, or even writing about women because womanhood is experiential and the man is incapable of having that experience. Female playwrights have therefore taken it upon themselves to ‘re-write’ the writings of males: by writing with a commitment to right the perceived low and negligible status of the woman in the society and as represented in male authored plays written by men. In this regard, Agunloye (2007:10) maintains that: Keywords Radical Feminism, female characters, female and male playwrights Corresponding author: Joseph Ali Dameh | dja.tf[email protected] The ideology that men are naturally superior to women permeates the writings of Nigerian male dramatists. These authors characterise society as strictly patriarchal and excessively masculinist. Their plays are excessively misogynistic; their ideological aim is to perpetuate and legitimise their patriarchal ideology. This then implies that the works of female writers are, or should be completely for women and womanhood, and be devoid of the stereotypes male writers are accused of creating and presenting. Blame for the subjugation, domination and other injustices women have faced overtime is placed on men and patriarchy while the females are seen as victims. This position has been echoed and re-echoed by female playwrights and critics while overtly or covertly pitching-in on to Feminism and/or Womanism as ideological standpoint. De Beauvoir (1949:10) maintains that the source of women’s oppression is enshrined in the historical and social construction as the quintessential other. She argues that Aristotle defined women based on the lack of some qualities as compared to men and are referred to as ‘the imperfect man’ or ‘incidental being’. She argues that the society does not regard woman as an autonomous being but in relation to man. And that man has therefore organised the society in a patriarchy. Millet (1976:13) takes the argument further and argues that male writers discuss and present sex in a patriarchal and sexist manner and women are treated as mere objects or receivers of the sexual act. These fashioned the foundations for the struggle and emancipation of women rights, founding a writing tradition by females for accurate presentations of women and women issues. Female Playwrights in Nigeria Methuselah (2014:156) captures the situation of Nigeria’s pioneer playwrights thus: Generally speaking, this early period of playwriting was dominated by Wole Soyinka, J. P. Clark and Ola Rotimi. Zulu Sofola came on board a little later. It is important to note that most of the plays of these three pioneers are replete with titanic heroes. There is a celebration of the prowess, masculinity and glory of men in most of these texts. These heroes range from great astute war generals like Kurunmi, in Kurunmi and Odewale in The gods are not to Blame by Ola Rotimi, Olunde in Death and the King’s Horseman by Wole Soyinka, Ozidi in John Pepper Clark’s Ozidi. In 1983, Tess Onwueme, another Nigerian female, began to write plays. By the year 2001, Irene Salami Agunloye also began to publish drama texts and has become a household name in contemporary Nigerian playwrights. Other female playwrights began to write but did not publish much and generated scanty critical responses. It can be said therefore that Sofola, Onwueme and Agunloye are the most prolific female Nigerian playwrights, arguably due to the number of plays they have published and critical attention their plays have attracted over the years. The representation of women in art, especially in literature, has attracted varied reactions over the years. In drama, several playwrights have ‘diagnosed the problem of women’s inequality in society’, Barry (1995:121). Plays arguably portray the unequal treatment of women, their total subjugation and domination by men. In this light, Banham et al (2002: xiii) maintains that ‘in a raft of mainly male-authored plays, women are seen as either angelically virtuous or more often, as dangerous, duplicitous and rapaciously greedy.’ Drama texts are not independent of culture and cultural values, it is culture that informs, inspires and reflects in plays. In spite of modernisation and global influences on African cultures, Evwierhoma (2002:1) maintains that ‘despite the change impacted on her by modernisation, the woman is still largely marginalised’. The explication of the mechanisms of patriarchy as the cultural mind-set which perpetuates sexual inequality in societies as portrayed in drama texts is mostly considered as bane of women and females generally. Critical responses were therefore remarkably combative to masculine representations of women, the interpretation of both andro and gynotexts delineate the domination and subjugation of women by men in society and the system that permits such. Contrary to feminists’ perspective about the under-representation of females by male authors, Idegu (2009:147) argues that: A situation where almost all the problems that befall the woman and will befall her in the future are put squarely on the man and patriarchy leaves a lot of leaking roofs in the habitation of feminism and other isms… Feminism has always sought to fight for the emancipation of females in societies. In works of art like drama, plays considered feminists are usually those that portray the subjugation of females by males and/or plays that represent strong female characters. In Nigeria, and Africa in general, patriarchy has over time made women subordinate to men in terms of roles and other larger socio-cultural practices. Even in matriarchal societies and cultures, it could be argued that males usually have an edge over women; with just one female being the lead, other females still grunt under the brunt of men. It is always and usually ‘a man’s world’. More than Dancing, Male authored Plays and the Nigerian Situation The entire plot and setting of More than Dancing is modern and seeks to question old aged practices that relegates women to the background and not in the fore front and at the hem of affairs. Salami-Agunloye (2006) affirms this when she asserts that: As female writers resort to setting themselves by rewriting these negative portrayals they will creatively begin to express their discontent and correct the misinterpretation of women. Through their writings they will erase images of women as victims in the society... (p.47). www.hjahe.org Page 2 This shows that the continuous attempts to rewrite these negative portrayals does not end in the plays but also reflects in the society as a whole. Irene Salami's More than Dancing seeks to correct the roles and portrayals of African woman in a contemporary society using the political world as her setting, she uses her female characters to speak against their own relegation and subjugation. Solberg (1983:230) recommends that ‘one of the ways of correcting one’s faulty image of the African woman would be through the African woman seen from the inside, in other words delivered by women themselves’. The representation of characters in male authored plays reveals a preference for male characters as heroes while female characters are often depicted as supporting characters who are often docile or portrayed as negative or weak (wicked, dumb, prostitutes, valueless). Male protagonists are more dominant in the writings of African male authors. Kumah (2000:6) attributes this to male dominance of the literary world he argues that: As a consequence of the male-dominated literary tradition, many of the depictions of African women are reductive perpetuating popular myths of female subordination. Female characters in male-authored works are rarely granted primary status, their roles often trivialized to varying degrees and they are depicted as silent and submissive in nature. Examples of male heroism in male authored plays cannot be farfetched, in Soyinka’s Death and the King’s Horseman (1975) the idolisation of the protagonist Elesin by the playwright through the characters, most especially by the female characters as represented by Iyaloja (the most prominent female character) is an instance of the way male playwrights have portrayed their female characters as secondary individuals in the society. The duty of Iyaloja in the play is that of pleasing the Elesin and making him happy by singing his praises while recruiting other women to dress him in a beautiful garment, Soyinka (1975:15). Male authored plays that are set in contemporary/modern day have also not done much in re(presenting) women in their plays, in fact, modernity seem to have given male characters more power to own, oppress and subjugate women. Banham (2002) describes this when he says “in a world defined by man, the trouble with the woman is that she is at once an object of desire and exchange, valued on the one hand as a person in her own right and on the other considered simply as a relational sign between”. This is evident in the Ola Rotimi’s ’s Our Husband Has Gone Mad Again (1977) Sikira and Mama Rashida are viewed as uneducated and uncivilised about people, places and issues, Yeseibo (2013, p.80). This misrepresentation of women by male playwrights as a reflection of the society is questioned in Salami’s More Than Dancing as she brings to stage Nigeria’s national heroines as a proof that Nigerian women have always played major roles in the society as opposed to how the male authored plays project them. Osofisan (2001) affirms that ‘as far as the women are concerned, the bulk of our literature is secretly a weapon of male propaganda an agenda to keep the female under perpetual dominance…” (P.4). Male dominance is present in all sectors of the society; social, political, economic and women do not have equal opportunities and inclusion with men especially in regards to politics. The majority of positions are handed to the men and when women are considered they are given the not so very important roles. Not much recognition has been accorded to the female gender in the field politics as men are still seen occupying the important roles, women are still not considered as equal to men and therefore should have equal opportunities with men. Ekpe (2003) in his introductory essay in Irene-Salami’s More than Dancing notes that: “…At the wake of the fourth republic, there was only one female deputy governor, a woman also became the speaker of a state legislative arm –the first to attain that position in this part of the world …”. According to him, More than Dancing “should be able to liberate women from stereotypes and age long antagonism and put them on the path of pride and purposeful participation in politics, (xiv). Cultural and religious institutions and laws are at the core of the struggle for dominance as strong contentions still exist as to weather a woman should hold positions of power and because of this, there are certain roles that society frowns at as ‘unbefitting’ for a woman, which includes politics. Regardless of a woman’s level of education and exposure she is still faced with the dilemma of most African women who strive to attain positions that have been reserved for men apriori, they are seen struggling to be ambitious and at the same time performing their domestic duties, hence Okpe (2002) supports this assertion when he says: The various ethnic groups in Nigeria have classified women men and in particular gender roles. In fact, the values, norms, attitudes, ideals and symbols infusing each community translate the physical underpinning of sexual differences into the socially relevant categories of feminine and masculine gender. Arising from this is the fact that feminity has become synonymous with domesticity while masculinity is associated with mobility, power, superiority, and opportunities in the supra-domestic sphere. (p.112) Politically, it is noted that during the period of Nigeria’s independence the pioneers of patriotism placed male elites in a higher position while women were silenced. Educated women were not rewarded with any position in public politics despite their significant input in nation building. These women were excluded from political activities during post-colonial era in Nigeria. An example of such women is Mrs Funmilayo Ransome-Kuti while male political icons like Awolowo, Akintola were elevated. Contrasting gender identities and roles exemplify how political images which also reflect gender inequalities are constructed, redefined and reconfigured over the years. Presently in Nigeria, statistics show that women occupy only a fragment (8%) of political and administrative posts. (Afolabi, 2010). Page 3 Dameh, 2025 During pre-colonial era, the role of women in the economy brought with it a considerable amount of power in the sharing of resources. Colonialism and Westernization also robbed women of their right, as western capitalism further relegated women‘s roles to traditional, social and domestic categories and increased their dependency on their male counterparts (husbands, fathers and sons). As Morolake (2003) notes: Colonialism was a disengaging experience that obliterated and stifled the voice of women. The colonial strategy of circuitous control created a gender-oriented executive establishment that endures in spite of decolonization. The British government’s socio-economic approaches that handicapped women and the political arrangement that empowered men to rule women are continually blamed for the current disadvantaged status of women in Nigeria. Both strategies robbed women of their traditional authority (p.100). Lending credence to the above view, Okoh (2002) argues that: It was the colonization, which to a high degree that upset the legal arrangement of Nigerian communities by the introduction of the nineteenth century European notions of patriarchy. As a result, the traditional system, which gave women the opportunity to exercise their rights in both private sphere and public domain, was disrupted (p.31). Furthermore, Bolanle (1992) avers that: ‘in the pre-colonial period, women were… to be found in virtually all spheres of human endeavour… they were active in agriculture… the field of politics and decision-making, they played a prominent role at the local level’ (pp.314-315). From the above quotations, it is pertinent to note that during this period, the marginalization of women can be tied to the creation of the colonial economy. European patriarchy was also introduced into the Nigerian society by colonial administrators and missionaries. In 1954 under the colonial state of Littleton, legislation was passed which restricted women and prevented them from performing their civic rights. The severity of these laws led to the series of protests held by many Nigerian women against those policies that marginalized them and colonialism itself. The Aba women riot of 1929 challenged the British administration for neglecting to involve the women in decision-making processes. The Abeokuta Women Union led by Mrs. Funmilayo Ransome-Kuti demanded for the abdication of the Alake, Ademola 11 and the abolition of the sole native authority system put in place by the colonial masters that was exploiting the women. She demanded that there should be ‘no taxation without representation’. She contended against the flat rate tax saying that women are not obliged to pay separate tax from their husbands since the women do not participate in governance (Okoh, 2002, p.41). The traditional system of production inn indigenous Nigerian societies was disrupted by colonialism thereby introducing oppressive types of social stratification and introducing existing systems of social inequality throughout the state particularly on women. The first generation of Nigerian playwrights were the first ‘intellectual dramatists’ according to Obafemi (1986) to show ‘strong influence of colonial dramatic aesthetics’ (Agunloye, 2011, p.11). Tradition was the major influence of female characters which viewed women as subordinate to men. The vision of these dramatists was to a large extent traditional as well as cultural. Salami-Agunloye’s More than Dancing examines and questions the past, present and future realities of the Nigerian woman in relation to her role and position in the society while highlighting the circumstances behind these prejudices. More than Dancing The play text More Than Dancing is centred on the happenings in the Nigerian political scene represented by the UPLP (United People’s Liberated Party. Nona, a top member of the UPLP is chosen by other female members to be the female presidential candidate of the party against the patriarchal norms that stand in opposition. This includes Nona’s household issues being showcased by her husband and the countless attempts by the opposition party which consists of men who underestimate, intimidate and oppress the political aspirations of Nona and the women folk. The playwright makes use of Nona’s psyche to bring Nigerian heroines and freedom fighters to play. These characters act as advisors and influencers to Nona’s choices and actions. Through their narrations, Nona is able to create solutions to her problems. These narrations prove that the Nigerian woman in her quest for recognition and freedom from patriarchal domination has and still faces similar patterns of threats and obstacles and with the support of these heroines, confront these challenges as a means of making positive changes by correcting the image of the woman in a contemporary society. Female Characters in More than Dancing Madam Bisi Bisi is the leader of the women wing of the UPLP party, the play opens with her protest against the activities of the women as she describes it as domination by the men at the expense of the women; by occupying the important positions and leaving the women in charge of entertainment (dancing) which adds no value to them as members of the party. The playwright uses the character of madam Bisi as an instrument to advocate for change, by stirring in them a need to want to do more. She asks them to stop dancing and ‘wake up’, dance as described by Madam Bisi does not only mean the physical activity but also the actual ‘playing’ and dancing to the tune set by the men, dance here is used to describe a ‘lack of awareness’ when she says; “…stop dancing. I will have none of this. Go back to your homes, think about your future. Think about the future of your daughters. For how long must we be denied our constitutional rights? For how long must we continue dancing?” Irene-Salami uses Madam Bisi’s character to stir critical consciousness of the other women in the party in order to bring about positive development she envisions. Regardless of Bisi’s opposition of the subjugation of women, she makes it known the www.hjahe.org Page 4 women’s agitation is not borne out of desire for superiority or oppression but rather the desire to be equal partners as members of the party as it is their right. This is made known in her supporting statement to Nona’s disapproval of Alero’s comment: Alero: Left to me, I would suggest that we form an all-female party and leave UPLP for them Nona: God forbid! Nigeria is a country made up for men and women. Our reason for desiring to rule is not because we want to install a government that is ant-man. No! Bisi: That is the spirit, my people I am happy you understand my point. I dream of a party where nobody is oppressed. We cannot complain of oppression and continue to perpetuate it. My dream for us as women in this party is equality of access and freedom from discrimination and a better part for all. (p.9) Again, the playwright re-echoes her thoughts on feminism as equality and equity among genders rather than enmity, superiority and oppression through Bisi and some other female characters. Nona Nona is also a top member of the UPLP party, a co-agitator for the recognition of women as member of the party who deserve equal constitutional rights. She is elected by the women to be the party’s presidential candidate because of the qualities she possesses like her intellectual capabilities, level headedness, and integrity among others. she is very educated, vast and well spoken, Boma describes her as an acada (one who speaks with too much high-sounding vocabulary), (p.13) The playwright uses Nona’s character to act not only as a representative of the women of the UPLP but she also represents in the society who are marginalized in other sectors of the society. Nona’s character depicts the challenges that women are faced with in the society once they attempt to be more than just wives and mothers, asides the opposition and threats meted out by some members of the party (mostly men) Nona struggles to find a balance between performing her marital and constitutional duties as her husband soon becomes unsupportive of her political ambitions. On one hand Nona's efforts and ambitions are undermined and truncated by the men of the UPLP, on the other hand her husband gives makes it harder for her to reach her fill potential by issuing threats and warnings borne out of his insecurities towards her ambition so much so that she is faced with the options of choosing between her career and her marriage. Nona: I am surprised at the sudden change in my husband's attitude. One thing is sure; I cannot exchange my home for power. There are challenges on all sides the men are threatening fire and brimstone, the women are scared and discouraged, and my husband is feeling threatened all of a sudden, where do I turn to? (P.58) Irene-Salami uses Nona as a medium to bring past heroines and legends to life through her dreams/psyche. Nona communicates with these heroines who came across similar obstacles in their time, she sees the sacrifices they had to make and how they paved the way to greatness for themselves is able to confront and tackle her own obstacles: Nona: so, you mean these women had to go through all these just for our nation? Women gave up their comfort, their lives, their honour, their families and their names all for national unity, peace and stability? Yet none has ever had the advantage of being near the highest seat. Now is the time. We will go all the way up. The struggle continues, we will continue from where they stopped. Minika She is a top female member of the UPLP and just like every other female member she is aware of the injustice meted on the women by the men still, she does not agree with the referendum. She expresses satisfaction over the ongoing situation and withholds her support for the movement. Minika represents the percentage of women who have submitted to patriarchy consciously or subconsciously. Her disagreement is expressed thus: Alero: is there anyone with contrary view? Minika:I have some reservations about this so called "positive step in the right direction". Which direction are we going? UPLP is a man’s party. Men basically started it; they fund it; we cannot displace them in their own party. We have to be content with what they offer us for now. Any contrary move may lead to disaster. Let us reason well before we start. Her suggestion is met with opposition from other top members of the party, yet she remains steadfast in her opinion. Regardless of her position a party member. Minika places more value on her role as a wife and mother above her career, for her leadership is a no-go area for women; a 'too big position for women'. Minika: You see madam Bisi, it is not as if we do not want to support your move; we are fully behind you. See the posts we are planning to vie forlocal government chairpersons, House of Representatives, governors and president; are they not too big for us? Let us take one step at a time. If we campaign for men, they will give us some positions. She is not the only member of the party who is of this opinion, Ejura supports her as well and they both are of the opinion that radical moves like this threaten their domestic stability as wives who are under the authority of their husbands. Minika's character is proof that despite the oppression and marginalization that women are faced with not every woman is aware of it and some who are aware are not willing to fight for freedom from this partiality, they have simply accepted and succumbed to patriarchal norms as they believe that the world, we love in is a man’s world and any attempt to break free only ends in chaos. Page 5 Dameh, 2025 Alero Alero is one of the out spoken and opinionated top female members of the UPLP she holds various ideas and suggestions pertaining the progress of the women. Unlike Minika, Alero supports the movement against male domination in the UPLP but emphasizes the need for the women to segregate themselves from the male. Through Minika Irene-Salami subtly depicts radical feminism whose idea of equality is hinged on autonomy. She states that "left to me, I will suggest that we form an allfemale party and leave UPLP for them". Alero is not oblivious of the fact that the party is meant for all peoples (men and women). Therefore, separation would mean that society itself is divided. Unfortunately, Alero’s suggestion is not welcomed by other members and the playwright uses this medium to enunciate her notion of feminism as equality of access for both genders. Kambassa Kambassa is presented in the play as one of the past heroines who appear in Nona's dreams to pay obeisance to Mama Nigeria while recounting the tales of their past victories. Kambassa is a heroine of the ancient Bonny kingdom known in her days for her fighting skills, she led and won many battles for her people and killed many of her enemies. The skulls of her enemies are said to be used in decorating the famous house of skull which she instituted. The character of Kambassa is significant because she admits to Mama Nigeria of being a dancer in her youth before her fighting days; just like the women of the UPLP who were once a dance troupe before they got a wakeup call, so also Kambasa in her time was a dancer, fighter and a ruler. Mama Nigeria In a bid to further enunciate the importance of women in the society as the bedrock and builders Irene-Salami represents Nigeria as a woman (Mama Nigeria) even though the country's national anthem refers to Nigeria as the 'fatherland'. Mama Nigeria is presented as a mother figure who is all knowing and is who very much aware if is the happenings in her country, she recognises all the past heroines and acknowledges their deeds as the heroines pay obeisance to her. Just As a mother to her child(ren), Mama Nigeria gives advice and encouragement to Nona, speaking from a vantage and omniscient point, she points out the challenges of the modern woman and how nest to tackle it especially when she says "Nona, look for ways to empower your women economically and in formal education. When that happens, they will be confident enough to face or team up with the men. Continue to fight for liberty and political equality. This commitment must be renewed by each generation of Nigerian woman. (87) Mama Nigeria's character is not just a figure head, the playwright uses her to speak on the inadequacies of the modern Nigerian woman and how best to tackle it, since she acts as an all-knowing character, her voice is also used in speaking against the societal vices that deprive the contemporary woman of reaching her full potential: Mama Nigeria: Madam Tinubu your Lagos is now a haven for area boys. The girls are out in the streets instead of remaining in school. They have become carriers of loads in various markets in Lagos; deprived of a bright future Madam Tinubu: Mama I am worried about it all. In other words, Salami points out the need for women empowerment that much work is left undone in the society in regards to the girl child and if it is not attended to, women in the society will always be relegated to the background. Regardless of being assertive and career driven, Irene-Salami's female characters do not relegate their domestic roles. Nona and the other women are a proof that a woman can indeed be ambitious and still do right in domesticity if need be. More than dancing succeeds in repositioning the image of women in the society as note than sexual objects, wives and mothers. She proves that women are the bedrock and builders of the home and the society. Conclusion Drama is said to be a reflection any given society; its context is a depiction of its happenings, vices and norms, drama is therefore a tool that does not serve the purpose of storytelling but a means of addressing societal issues that needs to be corrected this is why playwrights use their society and issues they are familiar with and/or can relate with as a basis for their works, the submission of Wa Thiongo (1970) that "no writer writes in vacuum', is a confirmation that writers in general more especially playwrights write stories from the abundance of their observations and experiences of and from a particular event or series of event. The core concentration of male playwrights has always been the picturing of the physical, sexual, negative nature of the female gender by their negative portrayal of women, men expose their propensity to suppress women, this is evident in the female characters they craft in their plays and the roles they are assigned. Nigerian female playwrights came a bit later to the playwriting scene has since taken it upon themselves to re-present and correct these portrayals of women and present them as strong and assertive beings who are capable of taking decisions and being more than wives and mothers and in constant servitude to culture. They have since been engaged in the struggle for a fundamental change in gender relations so as to recognize the role of women as full and active participants in the society. Irene-Salami's More than dancing admits that women have in fact always been marginalised by men and need to be liberated and this is not to say that there has been no attempt by women over time to subvert this oppression. Her play brings to stage www.hjahe.org Page 6 past heroines from different parts of the country to prove that women have always fought and have never been recognised, they have made sacrifices for their societies but are still relegated to the background. More than dancing is a wakeup call for the modern woman to not relent and continue to fight the fight that the like of Moremi, Kambassa, Queen Amina, to mention but a few fought for the sake of the betterment of the society. The play proves that the modern woman is easily bought off with stipends and has turned a blind eye to male dominance. Her female characters are strong, assertive and not easily brainwashed women who are determined to stick their heads out to liberate themselves. 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