“The first time someone called me ‘ashawo’, I was 12.” Ibi Kontein, the creator of Back for Ground, tells me. “The reason? I ignored his catcalls,” she continues. The play centres on Ijeoma (Mercy Johnson), a former sex worker rebuilding her life. She is taken in by Pastor Solomon (Chris Anyanya) and Mrs Fehintola Ejindu (Oba Akinbobola). A memorable monologue from the play is delivered excellently by Mercy Johnson;
“Ijeoma, bend for me; I bend
Ijeoma, move your hips; I move
Ijeoma, spread your legs; I spread
Ijeoma, arch your back; I arch
Ijeoma, go low. I go low, low, low.
This sing-songy monologue is repeated throughout the play as Ijeoma tries to find her way outside of sex work. When she finds love in the arms of Akan, played by Awe Ayobami, society tells her she is undeserving, and they brand her a term that most Nigerian women are familiar with: ashawo. “Hardly would you find a Nigerian woman who hasn’t been called ‘ashawo’ simply for existing. Talk back? Ashawo? Ignore cat calls? Ashawo? Have opinions on Twitter? Ashawo. Make money? Ashawo. The list is endless,” Kointein states.
At different turns in the play, men walk up to Ijeoma asking for her “service,” but none of them is viewed through the lenses through which Ijeoma is seen. “These sex workers wouldn’t be in business if there weren’t a demand for their services.” Kontein declares. The play excels in highlighting male privilege, specifically around the topic of sex. Men are constantly described as sexual beings who need their urges pacified, whereas women are stripped of their sexuality, forced to become symbols of purity.
It is why society is comfortable with a sexually liberated man, but when genders are switched, the woman must be nailed to the cross. It is a strong callback to the popular story of the female adulterer in the bible who was caught in adultery. A group of angry people surrounded her, ready to stone her to death, but if you pay close attention, you cannot miss the glaring absence of the man with whom she was involved in adultery with. Alas, it is only the woman who was dragged to be stoned.
Religion is employed as a device in telling the story of Ijeoma. “Misogyny on its own is terrible enough. But when joined with its twin, religion? It’s a catastrophe.” Kontein says. In Back for Ground, Pastor Solomon, the leader of his church, true to form, holds extreme conservative ideals. He denies his wife, Fehintola, autonomy. Fehintola, a mother of six, does not want more children, but pastor Solomon is averse to family planning as “children are a gift from God”.
Fehintola’s autonomy is lost in the marriage, and Pastor Solomon reinforces this loss by quoting scriptures to support his misogynistic views. The conversation around bodily autonomy, the play sparked, is even more poignant when one remembers the overturn of Roe v. Wade in 2022. A law that gave women autonomy over their bodies and allowed for abortions. It is chilling that this law was smashed in what is known to the world as the free state, the seat of liberalism.
“A lot of the evil that’s been meted out to women is backed by religion.” Ibi Kontein asserts. Pastor Solomon’s place in the play is a form of symbolism that touches on how religion is used to control women.
In the past week, Nigerian X (formerly known as Twitter) has seen several discussions on submission. Like Pastor Solomon, various tweets reference religious texts as a defense for this subjugation. “Religion is a superb tool of manipulation. Put that in the hands of your typical patriarchal and misogynistic man? What could be worse?” Kontein laments.
Back for Ground also exists as a critique of the church. The play’s final act is ushered in by pastor Solomon’s sexual assault on Ijeoma. He silences her by reminding her of his place in society: “Who would believe you over me?” It is not the first time a spiritual leader has said those words to his victim. From T.B. Joshua to Ravi Zacharias, the church continues to aid and hide abusers.
“People need to start seeing religious leaders as human beings, capable of just as much good or bad. In fact, we need to observe them with a lot more scrutiny.” Kontein opines.
People have appreciated Back for Ground for its sharp commentary on misogyny, which Kontein admits was her intent. “I believe in telling honest truths. It’s why I constantly warned that this play was not child-friendly. If I intend to address issues, I address them exactly as they are. No sugar coating”.
Back for Ground, which originally ran in 2022, returned because the audience fell in love with it. “I was at the Lagos Fringe Festival in November 2024, and we were staging my play, Dear Applicant. Someone behind me shouted, ‘Ijeoma, bend for me.’ It took me a whole 3 seconds to catch up. They didn’t remember my name, but they remembered that line from the play. I think it’s safe to say that it’s an audience favorite.” Kontein recounts.
The play passes its message on misogyny and patriarchy eloquently, but the biggest message Ibi Kontein wants the audience to get is “leave women alone”.
“Slut shaming them for choosing to be single mothers or for making money. Trying to assert dominance over them because of religion and cultural practices, lording misogyny over their heads, the judgment, the criticism, the hypocrisy, and the oppression, it has to end. We can’t keep sweeping these issues under the carpet. Leave women alone.”
