The playwright, novelist and poet was a leading African writer who explored the complexities faced by modern women living in the shadow of colonialism.
Ama Ata Aidoo, a Ghanaian playwright, author and activist who was hailed as one of Africa’s leading literary lights as well as one of its most influential feminists, died on Wednesday. She was 81.
Her family said in a statement that she died after a brief illness. The statement did not specify the cause or where she died.
In a wide-ranging career that included writing plays, novels and short stories, stints on multiple university faculties and, briefly, a position as a cabinet minister in Ghana, Ms. Aidoo established herself as a major voice of post-colonial Africa.
Her breakthrough play, “The Dilemma of a Ghost,” published in 1965, explored the cultural dislocations experienced by a Ghanaian student who returns home after studying abroad and those of his Black American wife, who must confront the legacies of colonialism and slavery. It was one of several of Ms. Aidoo’s works that became staples in West African schools.
Throughout her literary career, Ms. Aidoo sought to illuminate the paradoxes faced by modern African women, still burdened by the legacies of colonialism. She rejected what she described as the “Western perception that the African female is a downtrodden wretch.”
Her novel “Changes: A Love Story,” which won the 1992 Commonwealth Writers’ Prize for best book, Africa, portrays the psychic and cultural dilemmas faced by Esi, an educated, career-focused woman in Accra, Ghana’s capital, who leaves her husband after he rapes her and lands in a polygamous relationship with a wealthy man.
In this work and many others, Ms. Aidoo chronicled the fight by African women for recognition and equality, a fight, she contended, that was inextricable from the long shadow of colonialism.
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Her landmark debut novel, “Our Sister Killjoy, or Reflections From a Black-Eyed Squint” (1977), recounted the experiences of Sissie, a young Ghanaian woman who travels to Europe on a scholarship to better herself, as such a move was traditionally described, with a Western education. In Germany and England, she comes face to face with the dominance of white values, including Western notions of success, among African expatriates.
As a Fulbright scholar who spent years as an expatriate herself, including stints as a writer in residence at the University of Richmond in Virginia and as a visiting professor in the Africana studies department at Brown, she too experienced feelings of cultural dislocation.
“I have always felt uncomfortable living abroad: racism, the cold, the weather, the food, the people,” she said in a 2003 interview published by the University of Alicante in Spain. “I also felt some kind of patriotic sense of guilt. Something like, Oh, my dear! Look at all the problems we have at home. What am I doing here?”
Whatever her feelings about life abroad, she was welcomed in Western literary circles. A 1997 article in The New York Times recounted how her appearance at a New York University conference for female writers of African descent “was greeted with the kind of reverence reserved for heads of state.”
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Although she wasn’t one, she had been Ghana’s minister of education, an appointment she accepted in 1982 with the goal of making education free for all. She resigned after 18 months when she realized the many barriers she would have to overcome to achieve that goal.
After moving to Zimbabwe in 1983, she developed curriculums for the country’s Ministry of Education. She also made her mark in the nonprofit sphere, founding the Mbaasem Foundation in 2000 to support African women writers.
She was a major Pan-Africanist voice, arguing for unity among African countries and for their continued liberation. She spoke with fury about the centuries of exploitation of the continent’s natural resources and people.
“Since we met you people 500 years ago, now look at us,” she said in an interview with a French journalist in 1987, later sampled in the 2020 song “Monsters You Made” by the Nigerian Afrobeats star Burna Boy. “We’ve given everything, you are still taking. I mean where will the whole Western world be without us Africans? Our cocoa, timber, gold, diamond, platinum.”
“Everything you have is us,” she continued. “I am not saying it. It’s a fact. And in return for all these, what have we got? Nothing.”
Christina Ama Ata Aidoo and her twin brother, Kwame Ata, were born on March 23, 1942, in the Fanti village of Abeadzi Kyiakor, in a central region of Ghana then known by its colonial name, the Gold Coast.
Her father, Nana Yaw Fama, was a chief of the village who built its first school, and her mother was Maame Abba Abasema. Information about Ms. Aidoo’s survivors was not immediately available.
Her grandfather had been imprisoned and tortured by the British, a fact she later invoked when describing herself as “coming from a long line of fighters.”
She said she felt a literary calling from an early age. “At the age of 15,” she said, “a teacher had asked me what I wanted to do for a career, and without knowing why or even how I replied that I wanted to be a poet.”
Four years later, she won a short story contest. On seeing her story published by the newspaper that sponsored the competition, she said, “I had articulated a dream.”
