Package 83, Script 1
March 2008
___________________________________________________________________
Maternal health, part one
___________________________________________________________________
Notes to Broadcaster
In most rural communities in Ghana, women are seen as part of the husband’s property, a farmhand and a domestic servant, rather than being a partner on equal footing who should participate actively in all decisions affecting the family. The woman’s subordinate position is further heightened by the bride’s wealth her husband pays to her parents.
Women are not involved in decision-making even in such important matters as the need to save money for antenatal and postnatal clinic attendance. When complications occur, either before, during or after delivery, the woman is often left to her fate. This is one of the reasons why child and maternal mortality rates are so needlessly high in this part of the world.
If the UN Millennium Development Goals are to be achieved, especially in the area of reducing child mortality and improving maternal health, then strong advocacy will be required to remove all such cultural barriers to women’s wellbeing.
As always, try to adapt the script to your local situation. What are the community values concerning childbirth and delivery in your listening audience? Do men and women discuss these matters and make plans together? Are there different opinions on these issues in your community? What do local health practitioners advise? Can health clinics and Traditional Birth Attendants work together? You might want to have a call-in program on these issues, or even conduct a roundtable discussion between listeners with different opinions.
This is part one of a two-part drama. In part one, the setting and some of the main characters are introduced. In the second part of the drama, the action develops and comes to a conclusion. It is recommended that these two scripts be played back-to-back, or on two successive days. You might want to market the drama with a short advertisement or “teaser,” which offers a brief description of the drama or a short audio clip, in order to entice the listeners.
Characters
1. Meeri
2. Haduong (two women friends married into the same clan, the Buwa clan)
Setting: rural community
Scene 1: Gossip on the way to the village waterhole
Background to Scene 1:
It is the dry season and two women in a hypothetical rural community are on the way to a water hole two miles away to fetch water. The clan to which the community belongs is an exogamous one, which means that the men of the clan pick their wives from other clans. Usually the bridegroom-to-be, after sending kola nuts and drinks to his bride’s family, arranges to elope with her to his home. When a new bride is brought into the community, a dance is staged to welcome the bride, and as an honour to the bridegroom.
In scene 1, a new bride has just been brought to the community through elopement, and that is the event the two women are gossiping about. The clan is also a polygamous one, and wives are generally treated as chattel or possessions.
1. Music Signature tune up. Hold 10 seconds and fade out.
2. SFX Ululation of a woman (two successive blasts) and fade out.
3. Hadoung: (Alarmed) What are you up to, woman?
4. Meeri: (Teasingly) Why? Are you afraid?
5. Hadoung: (Sternly) You know for sure that every ululation serves a definite purpose in this community and mustn’t be abused.
6. Meeri: Yes, of course I know that when a hunter kills big game with bow and arrows, especially if it is a ferocious beast like a lion or leopard, his prowess is greeted with ululation.
7. Hadoung: That’s right! Tradition sees it as a feat of skilful marksmanship. Rare bravery. Yes, what else?
8. Meeri: Ululations announce the coming of a newborn baby.
9. Hadoung: That’s another. Yes?
10. Meeri: And thirdly, when a ceremonial dance reaches the peak of frenzy, ululation goes with the excitement.
11. Hadoung: (Amused) Like the bridal dance waiting for us any moment – and dance we must, whether willing or unwilling. Have you hit the end of the road?
12. Meeri: No! Lastly, the ululation that announces the elopement of a bride into the community. This is the situation at hand now.
13. Hadoung: As happened to you and I following our elopement years ago. I remember that day when I was treated like a queen, sitting on my throne, feet in a basin, and powdered white like a ghost. They honour you for one day with a dance as a mother-to-be, the mother of a worthy ancestor lurking for the opportunity to re-incarnate, for clan continuity. (Both laugh).
14. Meeri: Isn’t it tragic that, despite our sacred role as mothers of the clan, we are treated as nothing better than chattels and farmhands?
15. Hadoung: Now seriously, Meeri, in which of these contexts did you make that ululation which could bring the whole community charging?
16. Meeri: Don’t worry. They’re too busy preparing for the bridal dance to have heard the ululation. Even if they heard me, they would probably associate it with the new elopement that is the story of the moment. Barring that, I would still have a way out. The mouth that talks itself into trouble, must find a way of talking itself out.
17. Hadoung: (Teasingly).Yes, that’s witty, Meeri.
18. Meeri: Wit is essential for self-preservation. It’s because of hot food that God gave everyone two jaws. (Pause) The spring has given enough water to fill our pots. Let’s hurry home.
19. SFX: Intermittent sound of water being scooped from a spring to fill a container.
20. Hadoung: (Excitedly) Hush, Meeri. Listen. What am I hearing?
21. SFX: Fade in dance music under voice.
22. Meeri: (Equally excited) The dance has started; the bridal dance that welcomes every bride who has eloped into this community.
23. Hadoung: After the welcome celebration, what next? The bride becomes a sex machine, the bridegroom’s personal property, a scarecrow, a farm labourer; doomed to join us, the voiceless lot.
24. Meeri: Let time sort things out. She might have a better fate than you and I. But for now, we must hurry home for the dance.
25. Music Bring up dance music and hold 1:30” and fade out.
Scene 2: The need to save money for antenatal and postnatal care.
Characters
1. Tontie (A newly married young man)
2. Azuma (Tontie’s newly married wife)
3. Halosu (Tontie’s mother, mother-in-law to Azuma)
4. Assemblyman
5. 1st Neighbour (male)
6. 2nd Neighbour (male)
Setting: rural community
Background to Scene 2 and synopsis of action
The people of Buwa clan observe specific gender roles. Roles such as pounding in a mortar, grinding on a stone, fetching water and gathering firewood are considered feminine roles. A man seen performing any of the above roles is mocked as being tied to the apron strings of his wife. It is in light of this that Halosu, coming across her son pounding fufu, feels disgusted. She raises the alarm, attracting neighbours to the scene. The Assemblyman of the area steps in to calm the situation, and takes the opportunity to advise Tontie and his wife Azuma to save money in preparation for the woman’s maternity needs. At the tail end of the drama, Azuma vomits, one of the symptoms of an early stage of pregnancy.
26. SFX Pounding of fufu for 10 seconds and fade under Halosu’s voice.
27. Halosu: Ah! What pleasant smell is this that fills the air? Some aromatic stew somewhere, teasing my nostrils. Must be where the pounding sound is coming from. My ears and nose have done well, leading me to that appetizing source. Hmm, how my mouth waters! (On tracing the aroma to the kitchen, Halosu bumps into her son pounding fufu while her daughter-in-law sits on a stool kneading the fufu in a mortar. Traditional customs frown on a male pounding. She exclaims) Hei! What am I seeing here?
28. Azuma: (Happily) Mother-in-law. You have good timing, coming on time for your share. Fufu is fufu. But as soon as you eat it, it turns into you.
29. Tontie: (In a hesitant voice, expecting his mother to be angry) With some wonderful soup to go with it.
30. Halosu: (Angrily) Don’t talk to me!
31. SFX Fade out the pounding sound.
32. Azuma: Who? Me?
33. Halosu: (Loudly proclaiming) Kinsmen and women, neighbours of our Buwa
Community, come and witness the abomination of the century. My son Tontie and his newly married wife, Azuma, have exchanged sexes, he now the he-woman pounding fufu, and she the she-man being the director of kitchen business. Oh! Oh! Oh! O! Watch things, and see for yourself!
34. Azuma: (Surprised and worried) What is our mother up to, my husband?
35. Tontie: (In a pleading whisper) Mother, what have we done to warrant such an embarrassment? I know that our clan regards pounding, grinding, and carrying of firewood as feminine roles, and you, my biological mother, have sniffed me out doing the unexpected. But why should you betray me thus?
36. SFX: Noisy crowd. Fade under the following dialogue.
37. 1st Neighbour: What is happening in this kitchen? I saw people charging in this direction.
38. 2nd Neighbour: I was also driven here by curiosity, though I know that it is risky following a mob. (Whispering) But you can see things for yourself. Tontie’s mother caught him pants down, pounding fufu for his new bride. She’s mad that her daughter-in-law is subjecting her son to what she sees as a feminine role.
39. 1st Neighbour: (Sentimentally) The old lady is totally right. Note this bad precedent well. Soon our wives will begin to order us about. You’ll not only have to pound fufu, and grind millet while humming a song – you’ll have to go to the bush for firewood. (Both laugh)
40. 2nd Neighbour: Nonsense! God forbid!
41. Assemblyman: My dear fathers, mothers, brothers, and sisters, it is good community spirit to respond spontaneously to alarms. But this particular call is not a call of distress. It’s a slight domestic affair, requiring exclusive family settlement. If you wouldn’t mind, I suggest you retire to your activities and leave the rest to me.
42. SFX Bring up noisy murmuring of crowd.
43. Crowd: Good talk, Assemblyman. Winner man! Winner man!
44. SFX Fade out noisy murmuring of crowd.
45. SFX Assemblyman, Halosu, Tontie and Azuma are left alone, with Azuma and Tontie sobbing. Fade the sobbing under narration.
46. Assemblyman: Now. Halosu, my mother’s good friend, these two are your son and daughter-in-law. Because of the generation gap, we the youth and our older neighbours sometimes misunderstand one another. But that mustn’t create the tears that I am seeing here. Tears not only show concern, but also seek remedy.
47. SFX Bring up the sobbing.
48. Assemblyman: You two must know that dialogue solves misunderstandings better than tears. Be the man that your mother wants to make of you, Tontie. No one should tell you that sobbing is uncharacteristic of Buwa men. Your wife has rather proved to be more hardened. She should have been wailing.
49. Halosu: You can clearly see the woman in him! Unbelievable!
50. Tontie: (Increased outburst of sobbing, mingled with extreme anger) She’s betrayed us to witches! Witches! Why did you do this to us, haa? Mother!
51. Assemblyman: I least expect this from you, Tontie. Calm your temper and let the day intervene for us. Witches are nocturnal functionaries. If you settle your differences in the day, they’ll have no reason to strike in the night.
52. SFX Fade out sobbing.
53. Tontie: Assemblyman, were you not the person who counselled me the night the whole community danced my bride’s welcome dance, that marriage is not based on a 50 / 50 relationship? Do you remember?
54. Assemblyman: Certainly.
55. Tontie: And that each spouse must be willing to yield 97% of his or her rights to the other?
56. Assemblyman: If spouses are not willing to show flexibility to each other, the marriage won’t hold.
57. Tontie: You said that in any relationship as intimate as marriage, there must be sharing of responsibilities.
58. Assemblyman: And abilities.
59. Tontie: (Mutters, under his breath) I wish my mother was with us that day to hear your wise counsel.
60. Assemblyman: Leave it there, my good brother, and let’s hear our bride too. Yes Azuma, gone are the days when women had no voices. The dominating attitude of our men must change, and bring women too into decision-making processes.
61. Azuma: Your counselling said it all. Guided by it, we shared responsibility for pounding fufu, each according to his ability, for the entire family. My husband has the energy to pound, and I the skill to shape the result in the mortar. Which of the two roles is more risky? (Sudden change of mood to anger) What if the pestle crushed my fingers? I would have only one hand left for the rest of my life. How would I live in a community like …
62. Assemblyman: (Cutting in) Enough! We shall hear our mother too.
63. Halosu: You see, youth sleep under the starry sky during the dark moon against my advice. (Shouting) They don’t know the dangers involved! You’ll never have a child for as long you keep sleeping in the open! Be warned!
64. Assemblyman: Don’t spoil the broth, Mum. Shouting will only inflame passions the more. All we need is the reason for that which I don’t know either.
65. Halosu: All evil things like darkness. If I’m lying, tell me I’m lying.
66. Assemblyman: I don’t think you’re lying.
67. Halosu: Good. That is why illness gets worse in the night. If a woman keeps sleeping in the open at night during a dark moon, there is an evil bird that flies silently across the sky in the dead of night. If the evil bird flies across a pregnant woman, the pregnancy disappears!
68. The other three: (Unanimous exclamation by the three listeners) Oooooooh!
69. Halosu: It is worse if the pregnant woman is lying on her back with her stomach shown to the sky.
70. The other three: (Another resounding exclamation from the three listeners) Oooooooh!
71. Halosu: Are you mocking me?
72. The other three: No. Why should we?
73. Assemblyman: Mum, to be frank, I don’t know if the bird that supposedly flies at night in the dark moon will prevent women from getting pregnant. I do know that, in our hot climate at this time of year, it may be more comfortable to sleep out of doors. But sleeping outside may heighten the risk of malaria, so it is always recommended that pregnant women sleep under insecticide-treated bednets.
74. Halosu: Well, the choice is yours. When the sick hour comes…
75. Tontie: Comes from where?
76. Assemblyman: Friend of my mother, you go, I beg, and leave the matter to me. (Exit Halosu)
77. Azuma: Fancy that, Assemblyman. Your community is very fussy about gender roles, but I don’t see any roles that women can play that men can’t, except women’s biological role of carrying a baby in the womb, which is God-given.
78. Assemblyman: I agree with you, Azuma. I agree that all other roles except carrying a baby are culturally determined. Be advised, Tontie. Do not let people interfere too much in your marital affairs. I fear the outcome.
79. Azuma: Assemblyman, you did a good thing advising my husband to do what most men do not do in this community, sharing responsibilities with his spouse. However, there is one entrenched attitude left that you need to advise him to change for the better.
80. Assemblyman: I promise to do everything that I can to make your marriage fruitful. What attitude of his requires change?
81. Azuma: He doesn’t want to sit with me to discuss anything about our mutual welfare. He takes decisions affecting both of us alone. I see the need for us to save money so that I can visit the antenatal clinic regularly. The need is coming faster than …
82. Tontie: (Irritated, cutting in): She expects me to sit by her side always like a maid. She talks too much about money. What will people say seeing me in her kitchen all the time?
83. Assemblyman: She has raised important points. It isn’t easy going through pregnancy for nine months. Pregnancy has specific health needs. So does delivery. You must have money on hand for any eventuality. While maternal health services are now free of charge in Ghana, you should set aside funds in case certain drugs or supplies are out of stock at the health facility. Also, there can be complications and she may need to be taken by emergency transport to another hospital.
84. Tontie: But you know that we are poor in this community. We don’t have money
for this. (In a firm voice, making a decision) My mother is a Traditional Birth Attendant, and she will handle any emergency.
85. Assemblyman: This may not be wise. There could be complications. And, Tontie, even though we are poor, we have the means to save a little from time to time to meet the needs of pregnancy and childbirth. You will need to make advance arrangement for transport, and will also have to buy supplies for delivery. Pregnancy and childbirth are family affairs. So your wife herself should be a central player in decisions relating to her own care.
86. Azuma: Working occasionally for a wage and saving it is one way. We have poultry and goats and sheep. If we raise more animals, we can sell some to add to our savings. Our cotton can also give us some money during the selling season. I can also prepare some shea butter for sale. With a little seed money, there are many income-generating activities that we can engage in.
87. Assemblyman: The District Assembly and some Non-Governmental Organizations are starting some poverty reduction programmes. I shall look around to see which of them could be helpful to our community.
88. Tontie: (In a hard voice) I have made my decision. The baby will be delivered by my mother.
89. SFX Azuma vomiting, fade under voice.
90. Assemblyman: Oh sorry, Madam. Tontie, support her, in case she falls over.
91. Tontie: Have you missed your period?
92. Azuma: (Speaking with difficulty) Y-y-y-yes.
93. Assemblyman: You know what that means. There is no time to stand and stare any longer. It is time to start the preparations. Start the savings immediately. Think of all the useful money-raising ventures that she has just spoken of. Good luck! I’m off.
94. SFX Tontie sighs deeply.
Acknowledgements
Contributed by: Tennyson Wubonto, Ghana Community Radio Network.
Reviewed by: Ellen Brazier, Anglophone Africa Program Director, Family Care International.
Program undertaken with the financial support of the Government of Canada provided through the Canadian International Development Agency (CIDA)
