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24 Jun 2024

Betrayal & Its Consequences in the Novel, Weep Not, Child by Ngūgī wa Thiong'o 

Ngũgĩ wa Thiong’o’s Weep Not, Child centers on the theme of betrayal, portraying it as a destructive force that destroys trust and unity. Through the actions of characters like Jacobo and the unfulfilled promises of the colonial government, the novel explores how betrayal deeply impacts individuals, families, and communities. It portrays betrayal not only as a personal failing but also as a tool used by colonial powers to divide and weaken those they oppress. 

In the novel, betrayal is most vividly portrayed through the character of Jacobo. By siding with the British colonialists, Jacobo is viewed as a traitor. His loyalty to the colonial powers earns him a position as a Home Guard, a role that mirrors the colonialists' oppressive treatment of Africans. Jacobo himself becomes a tool of oppression, treating his fellow Africans harshly and misusing his authority for personal gain.

Jacobo's betrayal is both political and personal. For Ngotho, it is profoundly personal. The land on which Ngotho and his family live "legally" belongs to Jacobo. However, Ngotho believes the land is rightfully his, as it would have been passed down from his father had the British not forcibly removed his father and others from their ancestral land.

Rather than standing in solidarity with his fellow Africans to demand the return of their stolen lands, fair treatment at work, and an end to oppression, Jacobo chooses to enrich himself by aligning with the colonialists.

As the only black man in the village permitted to grow pyrethrum, Jacobo becomes the wealthiest. However, this privilege comes at the expense of the villagers. In the barbershop—a hub for both barbering and political discourse—Jacobo’s betrayal becomes a topic of heated discussion. A young man remarks, "There be some people everywhere who don't want to see others rise," to which the barber responds:

"You have said the truth. Jacobo is rich. You all know that he was the first black man to be allowed to grow pyrethrum. Do you think that he would like to see another one near him? And how, anyway, do you think he was allowed what had been denied the rest?"

His question elicits silence from those who had gathered at his shop, including those seeking his services. After a moment of silence, the barber answers his own question:

"It's because he promised them to sell us."

Later, it is revealed that Mr. Howlands, a white settler, assisted Jacobo to get permission to grow pyrethrum. In exchange, Jacobo helped recruit labor for Howlands. 

However, despite their collaboration, Howlands despised Jacobo, seeing him as a savage. To Howlands, Jacobo was a tool to weaken African resistance by encouraging division within the community.

His betrayal was openly witnessed during a strike organized by Kiarie and other activists to encourage the villagers to peacefully demand their rights. When Jacobo, accompanied by a white police inspector, takes the platform to dissuade the villagers from participating in the strike, Ngotho, enraged, confronts him. Ngotho's movement toward the platform triggers the villagers to advance, mistakenly taking it as a signal to begin the strike. Though the strike ultimately fails, Jacobo's betrayal is later avenged by Boro, who ends Jacobo's life.

Another significant instance of betrayal lies in the promises made by the British to Africans who fought in World War I and World War II. While some, like Ngotho, were forced to fight, others volunteered under the assurance that they would be rewarded. Upon returning, they hoped for not only recognition and rewards but also the restoration of their ancestral lands. However, these promises were never fulfilled. Instead, Ngotho's return from fighting in World War I was met with an astonishing sight—his family's land had been sold to an African named Chahira, who later sold it to Jacobo. Ngotho’s father died without reclaiming his land, leaving Ngotho to live as a tenant on land that was justifiably his.

Ngotho’s resentment toward Jacobo stems not only from his betrayal as a collaborator with the colonialists but also from possessing the land, which Ngotho sees as an injustice.

The alienation of ancestral land and betrayal by individuals like Jacobo and the British colonial government in Weep Not, Child highlights the devastating consequences of treachery and exploitation. These betrayals not only destroy personal relationships, as seen in the tensions between Ngotho and his sons, but also disrupt the collective resistance against oppression. Furthermore, the loss of land represents loss of identity, heritage, and belonging for the African community. Through these events, Ngũgĩ wa Thiong’o illustrates how betrayal undermines trust, fuels resentment, and deepens the suffering of those already oppressed, leaving a legacy of poverty, displacement, and social unrest.

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24 May 2024

What is the Significance of the title, 'The Lion and the Jewel' by the Playwright Wole Soyinka? 

The title of the play symbolizes the two major characters, Baroka and Sidi, who both command an aura of authority to some extent, but in different ways, and highlights their contrasting traits and roles. Both characters possess a degree of authority, albeit in different ways and within the village’s cultural environment. Baroka's authority is enduring and firmly rooted in the traditional patriarchal system of leadership that governs Ilujinle. As the Bale, his authority extends beyond politics to cultural influence, as he preserves and enforces the village's customs and traditions. This patriarchal system grants him unquestionable control over both his household and the village at large.


In contrast, Sidi's authority is fleeting, arising from her newfound fame after the Stranger, a photographer from Lagos, captured her beauty and published her photographs in a magazine. This sudden recognition elevates Sidi's social status, making her the center of attention in the village. However, her authority is shallow, relying solely on her physical beauty rather than any inherent leadership or cultural significance.


Both Baroka and Sidi exert their respective forms of authority to assert themselves, influencing the dynamics of their interactions and contributing to the central conflict of the play. Baroka's calculated and enduring dominance contrasts with Sidi's impulsive and temporary ascendancy, creating a power struggle that ultimately defines their relationship. The interplay between their forms of authority symbolizes the broader tension between tradition and modernity, a recurring theme in the play.


Symbolism of the Lion


In literature, the lion often symbolizes strength, courage, leadership, and cunning. In the context of The Lion and the Jewel, the lion metaphor is most closely associated with Baroka, reflecting his qualities and role within the village.


Strength and Courage. The lion is widely regarded as a symbol of physical strength and fearlessness, characteristics manifested by Baroka. Despite his old age, Baroka attempts to show that at his age he is still energetic and strong. This is evident when he questions Sadiku after hearing that Sidi dismissed him as "too old:”

"Did I not, at the festival of Rain, defeat the men in the long-tossing match? Do I not still, with the most fearless ones, hunt the leopards and boar at night and save the farmers’ goats from harm? … The strongest of them all still wearies long before the lion does!"

Baroka's comparison of himself to a lion highlights his enduring physical, as well as his pride in maintaining his prowess. 


Leadership and Authority. Lions are often referred to as the ‘King of the Jungle,’ a title that symbolizes their dominance and majestic presence. Similarly, Baroka holds the highest position of leadership in Ilujinle, having inherited his chieftaincy from his father. His authority is reinforced by the respect shown to him by the villagers. For example, Sidi and other young people kneel or prostrate before him. Even the modern-minded Lakunle bows deeply from the waist.

Baroka also demonstrates his leadership through his resistance to modernity, which he perceives as a threat to the village's traditions and his authority. When a surveyor from the Ministry of Public Works investigates the land for a potential railway line, Baroka cunningly bribes him to falsify the report, claiming the soil cannot support a railway engine. According to Lakunle, Baroka's opposition stems from his fear that modernization would undermine his control and erode the village’s cherished customs. This resistance highlights Baroka's role as a protector of tradition and a cunning leader who defends his people from external influences.


Cunning and Strategy. Lions are not only powerful but also strategic predators, known for planning their moves before attacking a prey. Baroka mirrors this trait through his calculated approach to winning Sidi. His feigned impotence is a deliberate strategy designed to manipulate Sadiku and, ultimately, Sidi. Knowing Sadiku's liking for gossip, Baroka tells her about his supposed inability to sire children. Predictably, Sadiku conveys the news to Sid. In her pride (being overconfident), she decides to confront and mock Baroka.

This calculated move allows Baroka to interact with Sidi on his own way, ultimately outwitting (fooling) her. His strategic thinking reflects the lion's cunning nature, enabling him to maintain dominance over those who underestimate him.


Dominance and Control. Beyond strength and cunning, the lion's association with dominance reflects Baroka's desire to maintain control over his environment and people. This is evident in his resistance to the railway construction and his calculated tactic (plan) in dealing with Sidi and Lakunle. Baroka's actions are not just about preserving traditions but also about ensuring his unchallenged position of power within the village.


Symbolism of the Jewel


In ‘The Lion and the Jewel,’ the jewel symbolizes beauty, power, and desire, all of which are embodied by Sidi. The symbolism highlights her role as a central figure in the play, influencing her interactions with other characters and shaping the play’s conflicts.


Beauty. Jewels often symbolize something precious, beautiful, and highly valued. In literature, they are metaphors for cherished qualities, such as beauty, worth, or importance. Sidi mirrors the beauty of a jewel, as evidenced by the praise she receives from her friends and the Stranger, the photographer from Lagos.

When Sidi asks about the magazine containing her photos, her excitement and pride in her beauty are clear:

"Did you see the book? Had he the precious book that would bestow upon me beauty beyond the dreams of a goddess?"

Her beauty becomes a source of admiration and envy in the village. The First Girl remarks:

"The Bale is jealous, but he pretends to be proud of you. And when this man tells him how famous you are in the capital, he pretends to be pleased, saying how much honour and fame you have brought to the village."

Sidi’s striking beauty, captured and published in the magazine, elevates her status and makes her famous even in Lagos, the capital city of Nigeria.


Power. Due to their rarity and value, jewels symbolize not only wealth but also power. Sidi’s fame, brought about by her beauty, grants her a form of authority within the village, allowing her to assert herself in her interactions, particularly with men like Lakunle and Baroka.

Her elevated status is evident in her rejection of Lakunle’s marriage proposal:

"Well, why should I? Known as I am to the wide world, I would demean my worth to wed a mere village school teacher."

Sidi realizes the power her beauty commands, especially when comparing herself to Baroka. She highlights her superiority by mocking his diminished status in the magazine:

"Sidi is more important even than the Bale... He shares the corner of the leaf with the lowest of the low – with the dug-out village latrine."

This moment highlights how her beauty and fame elevate her to a position of perceived dominance over even the most powerful figure in the village.


Desire. Because of their physical appeal, jewels are often objects of desire. Both men’s pursuit of Sidi revolves around her beauty, emphasizing how she, like a jewel, becomes an object of attraction and competition.

Her beauty and fame make her and object of desire and competition between Baroka and Lakunle. However, their desires differ:

Lakunle, as a modernist, wants Sidi as a partner in marriage whilst Baroka, rooted in tradition, views her as a possession to dominate and a testament to his enduring masculinity.

Generally, the desire and competition for Sidi reflects broader societal attitudes toward women, reducing them to objects of desire rather than independent (separate) individuals. The conflict between Baroka and Lakunle also emphasizes how women are often caught in the middle of tradition and modernity. 


Fragile. While Sidi’s beauty grants her power, it also highlights the fragility (weakness) and fleeting (temporal) nature of external attributes (characteristics). Her fame, rooted in her physical appearance, is temporary and cannot compete with Baroka's enduring authority. This suggests that beauty, like a jewel, is valuable but fragile (delicate) and transient (temporal). 

Illusion of Power. Sidi’s sense of power, derived from her beauty, is ultimately superficial (shallow). While she momentarily asserts (establishes) dominance over Lakunle and mocks Baroka, the latter's cunning ultimately overpowers her. This reinforces the idea that her power, like the allure of a jewel, is surface-level and easily undermined by deeper forces such as experience and strategy.


In conclusion, the lion as a symbol symbolizes Baroka’s strength, leadership, and cunning. These qualities not only define his character but also shape the play's central conflicts, as he navigates the tension between tradition and modernity, ultimately asserting his dominance in both private domain and the village at large. Through Baroka, the lion becomes a powerful emblem of resilience, authority, and intelligence in the play, ‘The Lion and the Jewel.’


On the other hand, Sidi, as the "jewel" of the play, symbolizes beauty, power, and desire. Her allure captivates those around her and grants her influence, but it also makes her a target of conflicting intentions. This symbolism enriches the themes of the play, highlighting the tension between tradition and modernity, the fleeting nature of power, and the complexities of human relationships.

24 Apr 2024

How is Hypocrisy Manifested in the Play, The Trials of Brother Jero?

In the play, The Trials of Brother Jero, Wole Soyinka explores the theme of hypocrisy through the character of Brother Jero, a religious leader who deceives his followers by pretending to be a true prophet. 

Hypocrisy is pretending to uphold beliefs or morals. According to the Cambridge Dictionary, hypocrisy is “the act of pretending to have feelings, beliefs, or virtues that one does not actually possess.” Similarly, the Merriam-Webster Dictionary defines it as “feigning to be what one is not or to believe what one does not, especially the false assumption of an appearance or virtue or religion.” 

Hypocrisy manifests in various areas of life, including religious institutions. A person may be identified as a hypocrite based on behaviors associated with hypocrisy. Hypocrites are often dishonest, corrupt, manipulative, and deceptive; they misuse power or authority and tend to think of themselves—or pretend to be—perfect and righteous.

The main character, Brother Jero (also known as Jeroboam), is an example of a religious hypocrite. Although he claims to be a prophet, his actions show that he is a trickster who uses religion for personal gain. At the beginning of the play, Brother Jero tells the audience, “I was born a Prophet. I think my parents found that I was born with a rather thick and long hair. It was said to come right down to my eyes and down to my neck. For them, this was a certain sign that I was born a natural prophet.” 

By saying he was “born a Prophet,” he tries to convince people that he was divinely called to be a prophet. However, as the play goes on, his thoughts and behavior do not align with what he claims to be signifying he isn't a genuine prophet.  

As a religious leader, Brother Jero is expected to possess qualities such as honesty, humility, compassion, vision, integrity, and to serve as a good role model. A leader who guides others toward a righteous path, inspires faith, and acts according to the principles of the faith he claims to uphold. However, his actions clearly show he lacks these qualities. Instead, he is shown as a dishonest, manipulative, deceptive and corrupt person who manipulates his followers for his own benefit. He makes false promises - utters false prophecies - and even lies to keep his followers dependent on him.

One of the ways Brother Jero tricks his followers is by giving “safe prophecies” – promises that are likely to come true on their own without his help. For instance, he might promise his followers that they will receive blessings or success, things that could happen naturally. As his congregation begin to arrive at his beach, Jero says, "They begin to arrive. As usual in the same order. This one who always comes earliest, I have prophesied that he will be made a chief in the hometown. That is a very safe prophecy. As safe as our most popular prophecy, that a man will live to be eighty...The next one to arrive is my most faithful penitent. She wants children, so she is quite a sad case. Or you would think so..."

Brother Jero offers safe prophecies, in the expectation what he has prophesied will occur by chance or through the followers' own efforts. When his prophecies happen, he takes the credit. It makes them think he has special powers. Consequently, they blindly trust him as a true prophet.

Sometimes, when he needs more followers, Brother Jero even gives “risky prophecies.” For example, he tells a wealthy man that he will become the first Prime Minister of a new state even though it’s unlikely to happen. He admits that this was a “risky prophecy,” but he made it because he “badly needed more worshippers around that time.” By making promises he knows are false, Jero shows he is willing to deceive people just to make his church larger and collect more offerings.

Brother Jero also controls people by making them feel helpless, so they keep coming back to him for help. For example, one of his followers, Chume, wants to discipline his wife, but Jero tells him he cannot. Jero says, “… If I do, he will become contented, and that’s another of my flock gone forever.” Jero knows that by keeping Chume dissatisfied, he will keep coming back. This shows how Jero uses people’s personal struggles to keep them loyal.

Jero’s hypocrisy also shows in how he treats his church, or “beach,” as he sometimes calls it. He sees it as a business where his followers are “customers.” At one point, he says, “I am glad I got here before any of my customers - I mean worshippers - well, customers if you like. I always get that feeling every morning that I am shop-keeper waiting for customers.” This reveals that he views his role as a prophet more like a business owner, profiting from his followers rather than helping them. This is further amplified at the opening of the play where he says that he grew to love the trade (prophecy). 

Another example of Jero’s hypocrisy nature is when he refuses to pay for a velvet cap he bought from a woman named Amope. Even though he owes her money, he avoids paying for the cap. In order to get her off his back, he allows Chume to discipline her. This action shows Jero’s lack of honesty and how he uses others to get out of uncomfortable situations.

Finally, the hypocritical nature of Brother Jero is seen on how he tricks a Member of Federal House who is eyeing a ministerial seat. Through trickery and making false promise, Brother Jero succeeds in adding him in his fold. He says before approaching the person, "I could teach him a trick or two about speech-making. He's a Member of the Federal House, a back-bencher but with one eye on a ministerial post. Comes here everyday to rehearse his speeches. But he never makes them. Too scared. Now, he...he is already a member of my flock. He does not know it of course, but he is a follower. All o need to do is claim him. Call him and say to him, My dear Member of the House, your place awaits you...Or do you doubt it? Watch me go to work on him."

In conclusion, Brother Jero in the play, The Trials of Brother Jero, represents religious leaders who use faith as a way to make money and control people. Instead of genuinely helping his followers, he makes empty promises and keeps them dependent on him. The playwright cautions people against blindly trusting religious leaders who claim to be God's representatives but act in ways that contradict true faith. Through Brother Jero’s character, Soyinka highlights the dangers of following individuals who appear righteous on the outside but are corrupt within.

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21 Mar 2024

How do Sidi, Sadiku, Lakunle, and Baroka each represent the conflict of tradition and modernity in 'The Lion and the Jewel?'

The conflict between tradition and modernity is the central theme in the play. Through the characters - Sidi, Lakunle, Baroka and Sadiku- the Playwright presents an image of a society grappling with the influence of modernity while rooted in traditional customs.

Lakunle, a young primary school teacher, is a modernist who distastes the traditional customs existent in his village, such as, bride price. He advocates for Western ideas and practices, and is desirous of transforming his village to a westernized society.

He is depicted as an African who is attracted to the positive aspects of modernity, including its emphasis on gender equality. He tells Sidi,

"... I seek a friend in need. An equal partner in my race of life."

He opposes bride price, deeming it an outdated and demeaning practice. This reflects his detestation of this traditional custom, including traditional marriage, in favor of modern, egalitarian views on marriage. This view is based on the belief that all partners in a marriage are equal. This perspective emphasizes shared responsibilities, mutual respect, and equal decision-making power within the relationship.

Nonetheless, Lakunle's view of modernity is distorted, and his beliefs about certain things, such as women, are influenced by a traditional mindset. For instance, while Lakunle advocates for the positive aspects of modernity, like gender equality, he holds a condescending traditional attitude. He tells Sidi,

"... You can no longer draw me into arguments which go above your head."

Noticing Sidi's anger in response to his utterance when she says, 'Give me the pail now. And if you ever dare to stop me in the streets again...,' Lakunle responds,

'Please, don't be angry with me. I didn't mean you in particular. And anyway, it isn't what I say. The scientists have proved it. It's in my books. Women have a smaller brain than men. That's why they are called the weaker sex."

His utterances highlight the irony in his character, revealing how his traditional views contradict his modernist ideals.

His adherence to outdated scientific texts—discredited by modern science—and misogynistic beliefs highlights his patriarchal views despite his claim to modernity. He cherry-picks information that supports his biases while ignoring more progressive and accurate scientific findings. This implies that his views are not as progressive as he claims, adding a layer of conflict between tradition and modernity. His attempt to justify gender inequality using supposed modern science illustrates how deeply ingrained traditional attitudes can be, even in someone who outwardly advocates for change.

Additionally, Lakunle has a misguided conception of modernity. He tells Sadiku, after Sidi leaves to mock Baroka's impotence,

"... We'll burn forests, cut the trees, then plant a modern park for lovers. We'll print newspapers every day with pictures of seductive girls. The world will judge our progress by the girls that win beauty contests. While Lagos builds new factories daily, we only play 'ayo' and gossip..."

Lakunle’s statement highlights a misunderstanding of what modernity truly entails. He equates progress with appealing and shallow actions rather than meaningful advancements in infrastructure, education, and social equity. His statement reflects his belief that modernization is solely about adopting Westernized values rather than integrating genuine, progressive changes into society.

Despite being attracted to modern ideals and lifestyle, Lakunle is also attracted to an aspect of his Yoruba traditions - polygamy. For a moment, he is lost in admiration of Baroka's polygamous life. He wishes he led that kind of life, but this desire clashes with his modern perceptions. He fights against the temptation to lead a polygamous lifestyle and vows to himself to stick to a monogamous relationship. He tells himself,

"And now I know I am the biggest fool that ever walked this earth. There are women to be found in every town or village in these parts, and every one a virgin but I obey my books. Man takes the fallen woman by the hand and ever after they live happily. Moreover, I will admit, it solves the problem of her bride-price too. A man must live or fall by his true principles. That, I had sworn, never to pay."

As the Bale of the village, Baroka is deeply rooted in the customs, practices, and beliefs of the Yoruba people. He is a staunch defender of Yoruba traditions, such as polygamy, which he actively practices by taking multiple wives.

As the chief of the village, he uses his traditional power in halting the encroachment of modernity in the village. The construction of railway line represents a more significant encroachment of modernity that Baroka sees as a threat to his power and the village's traditions. When he learns of the railway project, he bribes the surveyor to divert the track, claiming the ground cannot support the weight of the engine. This action demonstrates Baroka's willingness to use corrupt means to stop the advancement of modernity into his domain.

As a wise and cunning man, Baroka succeeds in winning Sidi over to his side as his youngest wife. This effectively defeats the modernist Lakunle's plan to have her solely for himself. Baroka's polygamous marriage to Sidi symbolizes the preservation of traditional African culture that is threatened by Lakunle's embrace of Western modernity. Baroka's victory signifies his success in safeguarding his village's traditions against the encroachment of modernity.

Furthermore, Baroka, the cunning chief of Illunjire, uses his position of authority to preserve his power and status in the village. When Sidi's fame and beauty begin to overshadow his own popularity, Baroka sets out to marry her, seeing her as a threat to his influence as the village's authoritative figure. Baroka recognizes that unchecked modernization could undermine his authority as the Bale and disrupt the traditional way of life he is charged with preserving.

While Baroka is portrayed as a traditionalist who wants to preserve the Yoruba customs of his village, he is not opposed to adopting certain aspects of modernity that can benefit him and his people. By employing the stamp machine to seduce Sidi, Baroka shows his willingness to use modern tools to achieve his goals while still adhering to traditional practices like polygamy.

Baroka's actions show that progress and tradition can coexist. He recognizes that embracing modernity selectively can help his village prosper without completely abandoning its cultural identity. This practical approach allows Baroka to maintain his power and influence as the Bale while adapting to changing circumstances. .

Sidi, the village belle, symbolizes the battleground between tradition and modernity—a conflict that many young Africans face. Her beauty and independence attract the attention of two men: Lakunle, the modernist who wants to marry her and bring her into the modern world, and Baroka, the traditionalist who wants to add her to his list of wives, maintaining the old ways. Through their competing desires, Sidi's self-confidence and refusal to easily submit to either man's wishes highlight her role as the focal point of this struggle between two opposing cultural values.

Caught between two worlds—her Yoruba traditions and modernity—Sidi embraces modern ideas while remaining firmly grounded in her cultural heritage. This becomes clear when she agrees to marry Lakunle, but only if the traditional bride price is paid. Unlike Lakunle, a fellow young African, she's not fully swayed by modernity. Her character exemplifies how some young Africans, though drawn to modern aspects like photography, still hold onto their heritage and traditional values.

Her fascination with modernity is seen in her being allured by modern invention of photography and her photos appearing on the pages of a Lagos-based magazine. Not only is she fascinated by her images being published on the magazine, but also the possibility of her beauty, as told by the photographer from Lagos, being announced to the world.

Her reluctance to leave behind the modern world she's become accustomed to and embrace her Yoruba traditions is evident when she is forced to marry Baroka after losing her virginity to protect her reputation. Though she told Lakunle the old man had given her a strange kind of power, she previously expressed to him her fear of being mocked if the villagers knew she wasn't married with a proper bride price, implying a loss of virginity. The conflicting emotions are further highlighted by her act of giving Lakunle a cherished magazine as she leaves for Baroka's palace in a bridal procession.

Yet, even as she heads to Baroka's palace as his latest wife, an element of modernity awaits her there. Prior to losing her virginity to Baroka, the Bale had seduced her with a stamp machine, indicating Sidi's attraction to modernity and her fascination with it.

Sadiku serves as a mediator between tradition and modernity in the village. She navigates the tensions between the older and younger generations, each with their own interpretations of tradition and modernity. This role is evident in her interactions with Sidi, the village belle who represents traditional values, and Lakunle, the modernist who challenges these values.

Sadiku's role as the senior wife of Baroka exemplifies the conflict between tradition and modernity. She is tasked with the responsibility of finding young women for her husband, the Bale, who could either become his concubine or new wife. This duty puts her in the position of balancing the preservation of traditional practices with the evolving attitudes toward marriage and gender roles. While she upholds the customs of her community by seeking suitable candidates for the Bale, she also interacts with the younger generation, who may have differing views on these age-old practices. Sadiku's role thus highlights the complexity of maintaining tradition in the face of modern influences.

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