A Raisin In The Sun Analyzed by Philip Uko Effiong  and Mary Louise Anderson

It was a big issue of African -American identity and being proud of this heritage of Africa started within the 1920s with the Harlem Renaissance but continued and more fueled during the 50s and 60s with the black rights movement.  Although it can be seen through many novels, songs,s or playwrights, Lorraine Hansberry’s A Raisin in the Sun shows the different approaches of African Americans to this issue and these interpretations and representations analyzed by Philip Uko Effiong in his article called The Play’s African Allusions. However, the play itself does not only caught the attention of the black community and the representation of Africa and so on but also as a black woman playwright, her portrayal of the female characters became a discussion topic for many. As Mary Louise Anderson states in her The Play’s Portrayal of Women the play is highly stressed on the black matriarchy represented through the character Mama. As the two article stress, different aspects of the play, the arguments, and analysis that portrayed suggests that the play itself mainly focused through women characters and their approach to different aspects explained by Effiong and Anderson.

Firstly, Philip Uko Effiong mainly focused on the  African side of the play. Unlike Anderson, he makes the case that play itself has many points that make the case for African-Americans to adopt the African heritage or rather became assimilated is not a win-lose situation for the people at that time. Effiong suggests that  Asagai is not only a representation of the Africans and African heritage but also as Effiong describes,” Asagai is a revolutionary model for Beneatha, Walter, and Black America.”His influence over family  can be seen from his gifts and African, specifically Nigerian, music along with idioms and nickname he tells to Beneatha. All of these  is stereotypical yet still all these representations of Africa emphasis on the racial pride and dignity which is something we do not see in Anderson’s article. Beneatha is not the only one who desires Africa as her brother, Walter is also portrayed somehow as having a passion towards Africa during the dancing scene. However, Walter’s reaction towards this song and dancing somehow also seem silly and far from the traditional version. This is also a hint for readers to for many  African-American who takes pride in this heritage actually do not entirely know much about the reality in Africa. This lack of knowledge is also portrayed in Mama’s comments about Asagai and Nigeria. This is also a case for what Hansberry is trying to show in the play , as Effiong explains,” Asagai in some ways exemplifies both culture-contact and African independent struggles that are referred to in a largely practical manner. But there are also skeptical hints at possible flaws within independent Africa.” The conversation between Asagai and Beneatha is questioning this independent state. Beneatha makes the case as she suggest that what can be done after being independent as long as the continent stay corrupted. Moreover, this makes Beneatha more aware about that she is more American than African but she still can be proud about her heritage while also accepting that she is American. Effiong also makes the point that although, Asagai is more attractive choice for Beneatha, his opinions on women also puts him on the same category with men in US. Secondly,what Effiong implied by Asagai’s opinion on women, thoroughly  analyzed by Mary Louise Anderson  in her article The Play’s Portrayal of Women . 

Although we see both writer focused on the stereotypes, Anderson  mainly focuses on the stereotype about the black women and the black matriarchy in the families. The ideals like strong male figure as undependable and responsible, very religious example mother figure and taking care of her children and prepare them for the unequal white world. All these are stereotypical black matriarchy and all of these can be seen by the character Mama and hints in some scenes from Ruth. Moreover, she states that this can be seen in the play through the characters, Mama and Rita. Although Rita seen as not much of a matriarchal character Anderson points out that there is two sign that she can be one:

” Like Mama, she is emasculating Walter and is keeping him from asserting himself as protector of the family. At the beginning of the play, when Walter wants to discuss his dreams with her, she answers him with, “Eat your eggs, they gonna be cold” (p. 21). She mothers him instead of listening to and responding to his needs.”

Yet, this does only not make Ruth a  matriarchal character especially when compared with Mama. From the beginning of the play we see Mama dominating the domestic affairs and problems. She cares and tends her children and wants the best for them. That is why she wants to buy a big house for the comfort of her children. Moreover, her care for the plant also makes case that Mama is a stereotypical matriarchal figure in the play. She cares and tends the plant like a third child of hers.

To sum up, There are two main elements  about Lorraine Hansberry ‘s A Raisin in the Sun. The play’s interpretations and representations of African heritage of African Americans analyzed by Philip Uko EffIong  and the black matriarchy as higly stressed on Mary Louise Anderson’sThe Play’s Portrayal of Women .Effiong  states that there are moments that Hansberry criticize this phenomenon of rising passion of Africa may not be so realistic after all. Along with the controversy of Africa being independent from western influence. While Anderson suggests that play not only shows illusion and stereotype of Africa, it also shows the stereotype of black women, mainly mother figure in the family of the African Americans.

Works Cited:

Bloom, Harold. “Philip Uko EffIong  On The Play’s African Allusions”. Lorraine Hansberrys A raisin in the sun. New York: Blooms Literary Criticism, 2009.

Bloom, Harold. “Mary Louise Anderson on The Play’s Portrayal of Women “. Lorraine Hansberrys A raisin in the sun. New York: Blooms Literary Criticism, 2009.