By definition, Oral tradition is said to be one of the most important sources of African literature. We achieve that many African writers are interested in Myths, legends and Epics to tell histories about traditions and cultures like tales, folk tales, riddles, songs and short stories. At the same time instruct youths accordingly to their values and principles. Postcolonial African writers have inherited false evidence from colonisers’ accounts of their past and histories. From these perspectives, writers like Chinua Achebe, Wole Soyinka, Ngugi Wa Thiong’O, Djibril Tafsir Niane and Ayi Kwei Armah have felt the urgency to re-appropriate their ancestors’ legacy. This work attempts to examine gender in Ayi Kwei Armah’s vision and perceptions while showing the historicaly awkward portion of equity in African literature. It also exposes the challenges and constraints which face in deconstructing the traditional African novel, by African writers like Thomas Mofolo. The study takes into account the author’s historical novels such as The Beautyful Ones Are Not Born [1], Why Are We So Blest? [2] Fragments [3], Two Thousand Seasons [4], The Healers [5], Osiris Rising [6],” KMT: in the house of life [7] and “The Definitive Chaka [8]. The survey of well-known and recognized pioneers of African orality are often male figures, some women have also significantly contributed to its evolution. For instance, in Thomas Mofolo in Chaka [9], this sensitivity of the character, which shows the human dimension of the epic hero, is not perceived in African cultures, where one of the characteristics of male masculinity is moderation and inner feelings.

This distinction affirms the sociocultural activity that myths fulfil in most societies. Other elements of gender disparity can also be noticed in African myths, for instance, in Mofolo’s Mhudi, the life of the character Mhudi that bears the name of the title of the book shows a distinction between man and woman. We can infer that the representation of Armah’s traditional society is Different from the literary tradition initiated by Thomas Mofolo. The objective of this study is to revisit the place and contribution of men and women in the cultural reconstruction in Africa. A major challenge is to see: how can gender structure the future universe of cultural research in African studies? It will allow us to reposition the historicity of the notion of gender, particularly the contribution of male writers, but also the semantic shift that has taken place over the past decade. Is gender equity still being a doubtful case, or does it overflow into new socio-cultural orientations? How is it considered in today’s social performances? How can it contribute to better social welfare?

Its effectiveness will depend on inclusive strategies to empower themselves socially, politically and economically. Its effectiveness will depend on inclusive strategies to socially empower themselves. To examine gender issues in Armah’s novels, this study employs feminist theories and Marxist approaches that promote gender equity and empowerment to respond to the authors’ vision of orality. We will attempt to evaluate the roles and functions of Myth, Legend, Epic and gender before analysing the Pan-African dimension of Armah’s Epics and their relevance to the concept of the way (The way: or the way our way: is a Pan-Africanist concept coined and developed by the Ghanaian writer Ayi Kwei Armah).

Roles and Functions of Myth, Legend, Epic and Gender

The nature of African orality shows a lot of differences in terms of narration and diction. It is important to correctly define each of them to better understand their roles and functions in the settings of different African myths, legends and epics, to better understand the authors’ appreciation of genders’ roles. Besides, one must see how pioneers of African writers have dealt with orality in their work before analysing how it differs from Armah’s perception of African orality in his fiction. As a definition, the word Myth [10] according to the Merriam- Webster online dictionary is a usually traditional story of ostensibly historical events that serves to unfold part of the world view of a people or explain a practice, belief, or natural phenomenon. Donna Rosenberg states:

Myths symbolize human experience and embody the spiritual values of a culture.” […]“explain the nature of the universe (creation and fertility myths)… or instruct members of the community in the attitudes and behavior necessary to function successfully in that particular culture (hero myths and epics) [11]

This definition sheds light on the values and views of the world spread through mythology Myths are instructional as well as entertaining. While, the concept Legend comes from the Latin word Legenda means, “what must be read.” Some theorists like Isabelle Laudouar, originally refers it “to stories about saints that were read in convents for edifying purposes.” That is to say, they contain extraordinary phenomena but also actions, they are called “legends, by extension, various but mostly ancient narratives, which present extraordinary facts as historically true” [12]. 

As for the Word Epic, according to Jacques Chevrier is generally in the “form of a long story, mostly versified, in which authentic historical events are of a legendary reinterpretation and where the wonderful and the true interfere in often complex ways” [13]. Its function has been entertainment, the transferring of ancestral values and the expression of a national or ethnic feeling. Still, Myth, Legend and Epic have specific meanings in African Oral literature. 

African myths are valued in their roles and functions at the social and cultural levels. The role of gender in thestructuring of the future universe of cultural research in African studies can be found in Armah’s works on gender issues. Indeed, there is a diversity of versions of myths, legends and epics but they have different structures, viewpoints and aspects regarding the story recounted. Therefore, they do not go over and revive past events as they were originally, to preserve their key role in the restoration of social structure. Otherwise, they can be used as a reference framework of an ancient reality that would help Africans to instruct their people in their cultures. Somewhat Armah deviates from this ancient order of history to re-create it with his vision of African orality, as far as gender equity is concerned.

The Ghanaian author views both male and female gender in his characterisation while dealing with his historical novels as being equal and having the capacities to achieve his vision of sociocultural improvements. That is what makes the originality of his literary production. Indeed, in their roles, Myths Legend and Epics are essential to the development of cognitive skills in education. That is what makes them relevant in terms of instructing youths in societies. In his work, valuable functions are attributed to gender without distinction of sex. Yet, either men or women must be actors of changes that are useful for cultural advancement to respond to the required adjustment of the African novel and the rewriting of Modern African literature more centred on innovations, hence the relevance of the choice on orality which is at the outset of African literature. Besides, his reformation raises new perspectives, for instance, he retires the amazing and dreadful actions of ancient traditions to which women have been subjects to male authority. Patrice Hill Colin, while dealing with ‘The Social Construction of Black Feminist Thought’ in Nana Wilson Tagoe’s Feminism and Womanism quotes:

To claim that black women are more oppressed than everyone else and therefore have the best standpoint from which to understand the mechanisms, processes and effects of oppression, [but] this simply may not be true ... [since] standpoints are rooted in real material conditions structured by social class.

This above statement can be linked to Armah’s vision of the female gender. Women, as suffer more gender must be considered an outdated theory in modern days. Their oppression cannot be justified as an unconditional right but merely as a historical fact that must be changed by modern African intellectual and cultural activists. To some extent, they equal men and in other cases they overtake men. But, still, apart from the genetic differences they are equal since they are endowed with intelligence. In these cases, one cannot dissociate them while dealing with social class structure and material conditions.

The Relevance of Armah’s Myths in Gender Issues 

In Armah, The Beautyful Ones Are Yet Born, which is one of his historical novels that stresses his intention, one can notice man’s role as the author’s attempt to bring a new African perspective in cultural remodelling on gender issues. For instance, in the novel, only reliability, tolerance and denial of the ideal with its moral principles seem to keep the mind of the main character the man in his mission as a male character. While, in Why Are We So Blest? and Fragments, the Ghanaian author explains his disillusionment with male African intellectuals’ leadership. However, whether accurate or original, they always remind confused, it would be more efficient if they adopted a politic of equity in the choice of leaders to which there are male and female candidates capable of many positive accomplishments in social and political affairs. The question to see whether gender equity still being a doubtful case or whether it overflows into new sociocultural orientations can find its answer through the contemporary teaming challenges, the author painted in his novels of liberations by not only giving important roles to men and women but urging them to join their efforts. By following Ama Ata Aido’s quote about the meeting of feminist and African political agenda.

Every woman and every man should be a feminist – especially if they believe that Africans should take charge of African land, African wealth, African lives and the burden of African development. Because it is not possible to advocate independence for our continent without also believing that African woman must have the best that the environment can offer [14].

This account from Aido sustains the need for equity between men and women in public affairs as suggested by Armah while dealing with gender equity that the transformation of the human resource and institution need for the participation of women in the decision-making and the sharing of wealth which are inseparable for political and economic assistance in modern societies. This associative mission of both sex, will galvanise an effective distribution of materials, goods and wealth and contribute to the advance of African independent countries.

Armah awards specific importance to gender and its principles while writing myths. The roles assigned to the characters in the quest for liberation of Africa from imperialism as discussed in the novels, for instance, in his two novels Two Thousand Seasons and The Healers, Osiris Rising and KMT: in the House of Life readers are asked to observe the emergence of Armah’s concept of gender equity. The exemplary and enduring commitment of male and female characters is still reasonably clear, as the ongoing Myth seems to leave vague explanations for the consequences of their actions. Indeed, the author’s perception of Myth, in Two Thousand Seasons is his historical novel that arouses his desire to link history and myths to explore his vision. He will even go further to experience it in both novels Osiris Rising and KMT: In the House of Life, for instance, the history of the transatlantic slave trade, where he paints the corresponding roles between men and women. Besides, Isidore Okpewho’s account of Myth in Armah quotes: “perhaps no recent work in the old tradition and furnish new hopes than Armah’s Two Thousand Seasons” [15]. There is a strong need to revise the African traditional novel. Thus, these purposes reveal that Armah has taken into account an ancient African truth, to advance his vision on gender.

In these above-mentioned novels, he explores myths that are different from other African writers’ models. In Osiris Rising, the author transfers the indigenous Egyptian myth of Osiris to his account. Indeed, in the ancient Kemetic myth of Osiris, Asar and Ast are primitive male and female respected mythical deities. History recounts that the deity Osiris was an outstanding visionary leader. His brother Set driven by jealousy of his success keeps Osiris alive in a sarcophagus [16]. Set throws his brother into the river Nile. Even after Isis a goddess, who is Osiris’ sister and wife got pregnant and saves her relics from the river, Set follows her hatred for her deceased brother. He takes the body and disjointed it into fourteen fragments. Eventually, Horus, the son of Osiris and Isis, grows up and later avenges the death of his late father Osiris. Yet, to Valy Sidibé “any rewriting of a myth, according to the particular objectives of the creator, is distinguished from the original myth”. The author transposes this ancient myth in his work respectively Asar/Osiris and Ast/Isis, both male and female characters whose roles are central in the setting of the novel. 

The deity Asar is a visionary leader who was successful with the team of reformers; he draws the anger of his brother, Seth, who became jealous of his success and keeps on working against the project of the team. This remodelling of this ancient history equals the author’s vision of gender issues. He puts the main characters of the novel Ast and Asar in the heart of the ancient Egyptian myth as a reference from the original history. Based on this prevalence of the Kemetic myth, one must think about giving it the place it deserves in the renovation of African literature. It consists of giving valuable roles that both male and female characters can perform as true models in socio-political and economic advancements in societies while condemning, the immoral roles and attitudes of some male characters such as Seth and his followers. They are destroying social cohesion and are reminiscent of the modern world with wrongdoings. Besides, Seth’s hatred of the innovative team ends with the murder of Asar and his attempt to rape Ast. Here, the author highlights the imminent danger that hangs around. However, Ast will advance the mission after Asar’s death as with Isis in the Mythology.

The Egyptian Myth of Osiris is relevant to gender equity. Both of the deities played safeguarding roles in their communities. Indeed, this myth inspires change-making strategies useful to every conscious individual in Africa and its Diaspora who is committed to innovation. The narrator points out some changes in the perception of genders by contrasting traditional opinions, to emphasise new trends of male and female innovators, portrayed in the novel by the companionship of the Per Ankh (Per Ankh: the Per Ankh is a group of challengers (teachers and students) in different fields of research that gathered around Asar their leader in the novel Osiris Rising [6] by Ayi Kwei Armah. They make the Ankh their emblem of resistance. They are reminiscent of the seers, hearers and utterers. The Ankh is an ancient Egyptian hieroglyphic symbol that connotes “life itself” commonly used in writing and art.). This conscious generation has left aside illusions to rise with the sun of progress. There are some similarities with the author’s novel KMT: in The House of Life. Its title recalls the myth of the Kemet. Once more, the author emphasises that ancient Egyptian myth through its images and symbolism, shows that men and women together can accomplish the desired change. Though, he calls on teamwork regardless of distinction of sex for more effectiveness in their actions and boosts African education. This myth, as retold in Armah’s novels is evocative of the idealised Africa. Yet, it has not been confirmed that the current writings in Africa have removed the content of stories and the validity of their roles, but we must admit their decline. The question is, is it necessary to remodel African oral literature by taking into account gender equity? To this end, we mention the analysis of the contrast between the female and male sex, place and functions in Armah’s concept with some Myths like Chaka inspired by traditional African realities. 

Another important aspect that deserves to be well considered in the author’s historical novels emphasises teaming challenges of men and women for a successful struggle for cultural liberation in Africa. Through this, the narrator’s option for collaborative work is a means to further his quest for social the liberation of the whole continent. The author’s characterisations include some names of characters that are familiar to the existing ethnic groups in the continent. Among them are: Yoruba Soyinka, Akan Abena or Gikuyu Kimathi and Zulu Isanusi who has a good description in Two Thousand Seasons than in Mofolo’s Epic Chaka. Armah’s model which takes its source from his pan-Africanist vision is a model which is probably an idealised image of Africa which can be found through the narration. However, the narration is inclusive: “we are not a people of yesterday… what is a people of yesterday?” [4]. The use of the first plural person, “we”, shows that the vision of the author is wide-ranging. It does not make a distinction of gender, ethnic group or nationality. The message is destined for anybody either men or women. Consequently, here lays the essence of Armah’s myths in his historical novels as far as gender is concerned. It should be taken into account by every conscious intellectual from Africa and its Diaspora. 

In the same reasoning, the need to re-evaluate Africa’s education with a focus on gender equity is obvious in the author’s work on myths. Indeed, Armah aims to re-evaluate Western education imposed on the African educational system he qualifies as unproductive. He supports that this foreign system is killing everything related to the original historical truths about Africa. For instance, in KMT: In the House of Life, male and female Characters like the Tragic Biko, Djiely Hor, Lindela and Professor Jengo are among the supporting voices to challenge the gigantic Western system seeks to gradually replace ancient methods of instruction which, consist of inculcating important values and principles to the learners. These values and morals were eloquently tough through ancient African Myths, Legends and Epics by storytellers who had a good mastery of history. The author praises Mofolo in these words while narrating The Healers: “Fasseke Belen Tigui, master of masters in the arts of eloquence.” Indeed, he owes the art of speaking to Thomas Mokopu Mofolo as he calls him. More important, the author doesn’t dissociate men and women for fear of unbalanced roles in the practice. His main objective is to sustain efficiently the defence of Africa’s values from destruction. Still, there is a difference between his approaches and other African writers’ about his emphasis on committed male and female characters who are his right protagonists. It means that Mofolo has a clear appreciation of the story and is skilled in the setting of African epics histories to which any intellectual is encouraged.

In general, the painting of the emancipated woman is significant in most African epics, more particularly in Armah’s Epics and historical novels. But equally, the Ghanaian author criticizes the bloodthirsty attitude of Chaka. At this point, one can say that Armah’s point of view contrast with Mofolo’s. He did emphasise the male virility of the hero. There is an important relationship between the sexes in the interpretation of roles. Besides, his vision of Chaka’s narrative epic and the depiction of mythical female and male figures are relevant examples. This re-evaluation of gender roles in Armah’s myths compared to other African models is expressed in the author’s view, although it is different from the usual role mainly that of the female gender in both European and African Myths where men and women have separated roles. Yet, this is not a contradictory dimension of performances in themes and assignments of characters in the settings. Thus, Mofolo’s version of Chaka, is not about saying “the truth, the whole truth, nothing but the truth” [17] but, it is a symbolic contribution to the liberation struggle in South Africa and a need to remodel the history of his country.

In this fiction, Mofolo tells the story of the reign and decline of the male character in general. But, there are negative aspects of the social environment in Mofolo’s version, as well as, the bad effects of tradition as in many epics. At this point, one can say that it does not respond to Armah’s vision of telling history. Armah did appreciate the artistic dimension of Mofolo’s work. In his essay “The Definitive Chaka” [8] he shows an evolution in the ways of telling histories about ancient African heroes. He declares: “Of this fact there is no dispute: Mofolo was an artistic genuine.” 

Dealing with gender issues in Mofolo’s version of Chaka [18], women are described as victims of men’s authority. The emphasis on the male virility of the Zulu king is a relevant example. His female figures are not missing from the stage. The author gives them crucial functions the ones that were naturally attributed to the male gender to mark their dominance over women centuries ago. It even starts from historical reality and creates a new female character to emphasize the role they played in the period described. Among them, we can mention Noliva. The author describes the physical and internal characteristics of this woman who is Chaka’s girlfriend:

Her name was Noliva and she was amazingly beautiful and crowned it all by having a kind, compassionate heart, which was always well disposed toward other people. All who knew her swore that Nkulunkkulu, the great-great-one, had had used her as an example, so that her exceeding beauty and her eyes that were soft and full of love, should teach his children the beauty and profound love of their Creator and that through Noliwa they should see the perfection of a woman without blemish [18].

The author emphasises the physical but also moral beauty of this female character Noliva as he did with Nandi and the hero’s mother, who are the characters, that embody the horrible suffering of the Bantu [19] people. The narrator describes Chaka’s love for Nandi, his mother and his girlfriend Noliva as a special way of paying tribute to his affection for these women. But it does not prevent them from death. According to the logic of the epics, Chaka would have killed his bride. In this sense, we can understand the attitude of the Zulu [20] hero to his subjects.

This is an illustration of women’s condition in African epics that are often subject to male dominance. Through this unenthusiastic sacrifice, the narrator describes Chaka as a bloodthirsty leader who gives less credit to women. Consequently, Noliva and these other women are victims of male authority. Certainly, Noliva’s image of purity and softness is radically opposed to the dreadful, dehumanized figure Chaka inspires. The portrayal of women as victims of male dominance already anticipates social changes. This difference between the texts allows us to discover, the criticisms and interpretations are influenced by the original epic of Chaka especially in the abuse of men over women interpreted in the case of Noliva’s sacrifice.

To some extent, the description of Densu in The Healers as a male figure and chief protagonist is consciously modelled on that of Sotho, the author of his great historical epic Chaka. In 1976, he wrote an article on Chaka for the Journal Transition. In the course of this article, he said of Mofolo’s distinctive presentation of the formative courses he compared to Chaka’s growth. Here is an extract:

There is an admirable, stark clarity in the way Mofolo presents Chaka’s childhood and growth. He shows his childhood as the crucial formative period, the seed time for all the crises of his adult life. As for the process of Chaka’s growth, Mofolo shows it to us as a difficult, complex progression, but so sure is his technique, so masterly his grasp of psychological details that the result has that clear, hyaline quality that often marks the most profound works of genius. Growth becomes a series of crises, in each of which Chaka moves an inexorable step forward to his chosen destiny [8].

This passage depicts Armah’s portrayal of the genuine work of Mofolo. This description of the hero epic inspires the Ghanaian author in his account of the male character Densu in The Healers. For instance, he introduces Densu’s childhood experiences in his conversations with a strong woman Araba Jesiwa who is the mother of prince Appiah of Esuano’s House. Indeed, Densu is receptive as a young adult like Chaka in his younger ages. He is confronted with a series of crises during his growth until the age of maturity as sequences of crucial moments in his life. As a result, the male character Densu is tied up with the community as would say J.S. Mbiti “I am because we are and since we are, therefore I am” [21]. It means that the author is for collective challenges. Given the cultural context of Chaka’s epic, we achieve that it is not the only story that depicts male dominance over women.

Pan-African Dimension of Armah’s Epics

In terms of structure and essence Armah’s Epics differ from the other Africans and Europeans’, hence their peculiarity. They deserve to be called Pan-African Epics because of their internal focus which is the main concern regardless of the mood of the storyteller. Unlike other African Epics, there is another form, called the external focus. It is, to Armah’s vision, a different procedure to review the past and tell the African story. Besides, characterization appears as another way to show the difference between his epic and others as far as gender roles are concerned. The analysis shows a group of different characters from different places, gender and nationalities. Armah does not celebrate male virility, that is, all the physical and moral traits traditionally considered specifically male, while his account of women goes beyond the norms of the African epic by giving them proud roles. For instance, in Osiris Rising, they are initiators, change makers and efficient leaders with their companions. They have considerably contributed to the cultural advancement in education and society. Whereas, women in traditional African epics are fixed on their traditional roles such as being submissive wives, mothers, educators and satisfying men’s sexual desires, whereas, in Armah’s pan-African epic the difference between sexes is not important enough. Both men and women characters can act for the way and accomplish great challenges in their societies. We have also noticed the absence of a hero and heroine in his epic different from the conventional epic in which there is, noticeably, a hero, usually a man with superpowers as with the epic of Chaka, who takes control of everything in the plot. In Armah’s work, none of the characters is indispensable; each of them can play a significant role. This special mission is what each African individual either man or woman, is called upon to follow. 

His epics are mostly distinctive in his work on Two Thousand Seasons, in fact, the existence of female characters described as strong as men. As well spiritual authority is part of the dynamics of both men and women in the traditional community of Armah with the role of Damfo the healer in The Healers and Naana in Fragments. This is the real essence of the allegorical role of the author’s protagonists. Therefore, gender equity is studied in his historical novels with a major interest in his new vision of oral art. The pan-Africanist dimension of his orality and its objectives are necessary elements for the cultural remodelling emphasised in this work. These same perspectives of ‘the way’ as depicted by the narrator open new directions for writers and researchers to pay more attention to the transcription of African Epics originating from Oral tradition. For instance, there is a connection between the story and the artist with a mixed audience that participates in the story through songs, dances, riddles, proverbs and their meanings provided by the storyteller. They bear important moral lessons capable of boosting the minds of young listeners and training them in the art of learning effectively their traditions. Therefore, regardless of the essential collective spirit of storytelling, Art remains a personal commitment. 

Besides, there is a connecting role with many voices, as appreciated in Armah’s novels. The interest in the study of gender equity in the epic can be found through the author’s motivation and innovations in writing style and content. It consists of changing the exaggerated condition of the hero into a normal human being and giving equal roles to men and women to challenge contemporary problems, for instance, there are no miracles and deities as in Chaka, except for the diviners, who are mere visionaries of the past. In addition, the concept of dreadful is missing. Compared to the depictions of other African myths and epics, Armah’s novels contrast with the ancient myths. 

The remaking of the histories through an inclusive strategy of gender is a necessity. Since male figures and female figures are part and parcel of history and each of them is a symbol and can convey very important messages to the existing generation in terms of cultural reference. Though, they must be recognised as pan-Africanist strategies for change and innovation to link Isidore Ikpewho’s thoughts, “the stories about gods, heroes and other higher beings help to perpetuate an unjust order that does not take into account the pressing problems of contemporary African society” [22]. Consequently, the reconstruction of historical reality is, therefore, a duty of visionaries like Armah who successfully remodels the image of ancient Africa into a new one more appropriate to modern challenge.

What emerges from this work in terms of gender equity and characteristics in the novels is not only fundamental but positive. It would be therefore increasing innovative minds regardless of gender disparity and the sociological dimension of the novel as it forms a part of a logic that leads Africans not to sink in the past but to draw inspiration from its cultural resources for contemporary socio-political and cultural challenges. So far, Armah contrasts most African male writers with the very significant role and imagery that women play in Akan’s culture of ancient Ghana. Then, these same perspectives, lead the author to bring his readers to understand the quintessence of his work on orality. His position for gender equity exposes a lot of changes in socio-cultural liberation in modern Ghana and Africa. As a recommendation, if Africans want to use their history to build a better future, they should depart from their misconception of gender disparity and focus on the essential aspects of their culture. Eventually, the author’s account of genders shows a particularity of his texts as a purpose of his new form of literature. It has significantly contributed to the development of orality in terms of cultural improvement strategies. His orality is, therefore, of vital importance. It should be used in the curricula to better appreciate education from a pan-Africanist standpoint.

To sum up, African orality has also been analysed with a greater interest in Armah’s works on different literary genres of Myths, Legend and Epic concerning gender issues. The quintessence in his orality lay in the perfect stylistic method of the characterization he uses in his novels, giving a more suitable role to his characters both male and female in the remaking of the image of independent Ghana and Africa. His pan-Africanist vision of innovation has been an object of critics. At the same time, he doesn’t appreciate some traditional practices that do not honour his vision of a new Africa. Yet, his Pan-African values are destined to educate generations of Africans. By redirecting the use of orality in a very positive way, he emphasized through positive aspects of the indigenous culture, the best reference framework and tools for progress in socio-political and economic life through a reformed education that must be used. It is also true for major philosophical strategies that focus on the continent’s future in terms of innovation in African literature, such as key documents relating to the results of the African Renaissance, even concerning its modern Education. The noticeable issues addressed in this study namely are the eminent role of Africa’s orality for in the quality and effectiveness of this field of literature. Therefore, orality should be the main concern of today’s cultural activists because it is the remaining field that has the merit to be further studied to enrich African culture and its education. If this questioning revolves around the re-use of the myth and its modernization in African literature, this should only be collaborative relationships between female and male figures shown in the re-evaluation of Myth, legends and epics that Armah makes us discover. Armah gives special importance to the female genre in his rewriting of African orality as far as the roles attributed to both male and female characters in the quest for the liberation of the African continent are concerned. The question that arises is, can we say that the function of gender in Armah’s orality compared to other forms is too idealistic that one could place it among the doubtful cases?

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