Whom Do We Thank for Women's Conferences?
By Ama Ata Aidoo
Here
in this truly
no man’s land,
all is fair as understood not in terms of
Penelope’s false blondness but
that which is right and healthy.
Where
we throw
our big
hairy legs and
bottoms that make any Levi’s cry for air.
Hairy too are the faces
we acknowledge
—some were born that way—or
as signs of:
the pills we took in,
the wombs we threw out, and
plain
normal
aging.
Yet
ancient graces
walk elegantly tall or
charmingly petite
in celebration pinks and royal indigos . . .
as though the earth itself was
newly found,
the air a discovery.
We were not afraid of ideas.
Not our own.
Not those of others.
Along those corridors and
in those easy days’ assemblies,
apologizing for our being was
not on.
We were
Nobody’s wives or mistresses.
No one called us
“Mother”:
and when some daughters present did,
it was with the clearest mandate that
they picked the fight where we brought it.
We were
only ourselves:
each alone as when we were born, and
shall be, when
we died.
But
living and together,
a true power thing that
searches
researches
solving
resolving . . .
And as always
sweetly hopeful as
only women can be.
General Introduction
"Whom Do We Thank for Women's Conferences?" by Ama Ata Aidoo is a reflective and empowering poem that celebrates the essence and significance of women's gatherings. Through vivid imagery and evocative language, Aidoo explores the themes of identity, independence, collective strength, and the unique experiences of women. The poem portrays a space where women come together, free from societal constraints, to celebrate their individuality and shared experiences.
Title
The title "Whom Do We Thank for Women's Conferences?" suggests a rhetorical question that invites readers to consider the origins and significance of women's conferences. It implies a sense of gratitude and recognition for the efforts and achievements of women who have made such gatherings possible. The title sets the tone for the poem, which delves into the collective power and independence of women.
Themes
1. Independence and Empowerment
- The poem emphasizes women's independence and their ability to exist without the need for male validation: "We were / Nobody’s wives or mistresses. / No one called us / 'Mother'." This highlights the freedom and self-sufficiency that women's conferences provide.
2. Collective Strength
- Aidoo underscores the strength found in women's unity: "But / living and together, / a true power thing that / searches / researches / solving / resolving." The collective action and collaboration of women are depicted as a powerful force for change and progress.
3. Rejection of Societal Norms
- The poem rejects traditional beauty standards and societal expectations: "Hairy too are the faces / we acknowledge / —some were born that way—or / as signs of: / the pills we took in, / the wombs we threw out, and / plain / normal / aging." This theme celebrates naturalness and authenticity over conformity.
4. Celebration of Womanhood
- There is a strong celebration of womanhood and its unique experiences: "Yet / ancient graces / walk elegantly tall or / charmingly petite / in celebration pinks and royal indigos." The poem portrays women in a dignified and celebratory light, appreciating their diversity and beauty.
5. Intellectual Freedom
- Aidoo highlights the importance of intellectual freedom and the exchange of ideas: "We were not afraid of ideas. / Not our own. / Not those of others." This theme reflects the open-mindedness and intellectual vibrancy of women's conferences.
Literary Devices
1. Imagery
- The poem is rich with vivid imagery, such as "Here / in this truly / no man’s land," which conjures a sense of a unique and liberated space for women.
2. Symbolism
- The "big / hairy legs and / bottoms that make any Levi’s cry for air" symbolize the rejection of societal beauty standards and the acceptance of natural, unaltered bodies.
3. Anaphora
- The repetition of "We were" emphasizes the collective identity and experiences of women: "We were / Nobody’s wives or mistresses."
4. Juxtaposition
- The contrast between the traditional beauty standard "Penelope’s false blondness" and the authenticity of the women’s appearance creates a stark juxtaposition that underscores the theme of natural beauty.
5. Alliteration
- The use of alliteration in phrases like "sweetly hopeful" adds a musical quality to the poem and emphasizes the positive outlook of the women.
6. Personification
- The poem personifies abstract concepts such as "living and together, / a true power thing that / searches / researches / solving / resolving," giving life to the collective strength and intellectual pursuit of women.
Language and Mood
The language of the poem is both assertive and celebratory, reflecting the pride and empowerment of women. Aidoo uses straightforward, unembellished language to convey authenticity and honesty. The mood is uplifting and inspiring, as it portrays women in a space where they can be themselves, free from societal judgments.
Context
Ama Ata Aidoo is a prominent Ghanaian author and feminist whose works often explore themes of gender, identity, and post-colonialism. "Whom Do We Thank for Women's Conferences?" reflects her advocacy for women's rights and empowerment. The poem can be seen as a tribute to the feminist movement and the importance of women’s gatherings in fostering solidarity and progress.
Conclusion
"Whom Do We Thank for Women's Conferences?" is a powerful celebration of women’s independence, strength, and intellectual freedom. Through evocative imagery and a strong, assertive tone, Ama Ata Aidoo captures the essence of women's conferences as spaces of empowerment and collective action. The poem is a tribute to the resilience and hopefulness that define the feminist spirit, encouraging readers to appreciate the unique and transformative power of women's unity.
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