African cultural societies have, in certain instances, demonstrated the enduring influence of patriarchy as a cultural heritage that fosters social transformation. This stems from historical legacies prioritising male authority in shaping gender relations across socioreligious, economic, and political contexts. Therefore, this study examines cultural and historical legacies of patriarchy in selected Nigerian postcolonial play-texts through the theoretical gaze of Edward Said’s postcolonial studies. Through the descriptive research design and content analysis, this study conceptualises issues that reflect, reinforce, or resist gendered power structures in the content analysis of Wole Soyinka’s Death and the King’s Horseman (1971), Ola Rotimi’s Kurunmi (2006), and Ahmed Yerima’s Abobaku (2015). This study reveals that many postcolonial Nigerian plays critique colonial oppression while also exposing internal patriarchal systems within Yoruba traditions. Alaafin Atiba’s choice to alter tradition for his son, Prince Adelu, reflects patriarchy, while Elesin Oba’s seemingly minor actions in Wole Soyinka's Death and the King’s Horseman stem from a desire to escape through the womb of a woman already betrothed to someone else. Additionally, Faramola in Ahmed Yerima’s Abobaku captures the complexities of cultural inheritance, showing how women navigate or resist patriarchal norms. In conclusion, Nigerian drama serves as a vital platform for exploring gender inequalities and advocates for greater attention to indigenous feminist narratives to promote gender equity and cultural transformation in contemporary African societies.
Femi Yinka Atteh (Mon,) studied this question.