Under the Kundè Tree

Last Updated on December 12, 2024

The Role of Women in the Struggle for Liberation in Cameroon

Set during the ‘hidden war’ of independence in Cameroon during the 1950s, the world premiere of Under the Kundè Tree focuses on the challenges faced by women during the violent and turbulent time in Cameroonian history. Directed by Ebenezer Bamgboye, the play was written by Clarisse Makundul who drew inspiration from her grandmother’s generation to look back at this period which remains an unknown part of world history. Kundè means freedom and the play explores not only Cameroon’s struggle for freedom from colonialism but also that of its women against patriarchy.

Against the backdrop of colonisation, Under the Kundè Tree addresses the conflict experienced by Sara, a young woman trying to balance her own desires with familial obligations. While the drama is set in the 1950s the themes are as relevant to contemporary times – family, love, colonial history and freedom, and identity. Told through the experience of women – the first play in the UK to do so on the topic of the Cameroonian War of Independence – the history will be unknown to many. The reason it is called ‘the hidden war’ is that it did not make world headlines at the time, nor did it go on to become part of history curricula. Sadly, the tale that unfolds on stage is all too familiar to anyone with knowledge of any liberation struggle anywhere on the planet – vicious repression to resistance, detention, torture, disappearances, assassination, rape, murder and intimidation.

On a bijoux stage at Southwark Playhouse, this period of Cameroonian history is enacted. Importantly, it interweaves the personal with the political. In all struggles the position of women has to be considered and fought for. Sometimes women are told their freedom will come after liberation, in other liberation struggles women take up their place on the frontline along with men. Playwright, Clarisse Makundul – who also acts in the play – clearly sets out the conflict not only as a liberation struggle against French colonialists (although Britain controlled a part of Cameroon at the same time), but also as a daughter’s attempt to overthrow traditional expectations and values.

Sara (Selina Jones) is in love with Jean (Fode Simbo) but her father (Yinka Awoni) has other ideas. He wants her married to the village chief who has offered a generous dowry for her hand in marriage. Sara wants to be free to choose her own destiny and rebels against her father at great personal cost. Her father represents the old order – he supports French colonialism – while Sara and Jean support the growing anti-colonial movement. In a parallel to the violence meted out by the colonial rulers to suppress the resistance movement, Sara’s father too attempts to assert his control through violence. ‘You have a duty of loyalty to your family, your clan and your community’ he commands her. But Sara’s idea of duty and loyalty to her community takes her in a direction her father cannot comprehend.

As Under the Kundè Tree progresses, the violence and horror of the colonial crackdown becomes visceral and most uncomfortable to witness. The need for women to protect their men who are either murdered, imprisoned or in hiding propels Sara and other women to take up the struggle themselves. This has been seen all over the world and women bear an extra burden of sexual violence meted out against them. From Africa to Central and South America to South East Asia and more, women have mobilised to secure societal freedom and hence their own, not only from oppressive regimes but from the restrictions of patriarchal limitations.

The fact that all of this history and herstory is played out with such poignancy by five actors on a tiny stage (a small mound of astroturf and strip lighting) is a testament to the well-written script and excellent acting. In addition, the role of song and movement in the play is central to the action. The script sets out enough political context for the audience to understand what took place in Cameroon without sliding into polemic.

Selina Jones is a very strong performer and I was surprised to read that this is only her second stage role. I expect we will see more of her on the London stage. She played the part of an indignant, initially confused yet ultimately brave and confident woman defying her father and eventually the French colonial powers. Yinka Awoni played both Pa (Sara’s father) as well as the liberation leader, Ruben Um Nyobé. He moved between these two quite different roles with ease and gave a moving performance in both. Fode Simbo showed fine character development from a young man in love to a liberation activist and was another strong presence on stage. Amma-Afi Osei played cousin Nadia who evolves from a gossip-hungry young woman to one who endures banishment from her in-laws, and torture and sexual violence from the colonial authorities. Her lovely singing voice is used to good effect throughout the play.

No holds are barred on the barbarity of the violence in this ‘hidden war’ and the play ends (rather suddenly I thought) at the point of despair when independence is denied. The conflict fails to make headlines in the world’s press and it would be years until independence was finally achieved.

The movement direction (Rose Ryan) is a powerful and critical part of the production. In such a small space it is tightly controlled and enables five actors to represent the chaos that ensues when a rally is broken up to the unbearable torture endured by Sara and Nadia. This is achieved partly with the use of chairs which is gruesome and shockingly graphic accompanied by Sara’s superb ability to use her body to enact writhing and unendurable pain. Jones has a strong physical presence on stage and her ability to use her body to express emotion is very powerful and packs a visceral punch.

The role of women in resistance movements is often an under-represented story. Plays like Under the Kundè Tree are important in providing a voice from the past that is not heard sufficiently today. In our contemporary times when British colonial history is argued over – whether to gloss over it and leave it in the past or bring it into the light to be understood, taught and examined – this play has an important role. Hopefully, it will go on to play on a larger stage.

Under the Kundè Tree plays until 17 June

Southwark Playhouse
Borough
77 Newington Causeway,
London, SE1 6BD