Not For The Ladies
River Road
The Virginia Exhibit
A Lost Car on Spike Canyon
The Beneficiaries
Invisible The Morning After
Beautiful Shadows
Something Like Wonder
Try to Keep Up
A Series of Moments Between Clocks
The Unromantic REAL World of Gulliver's Travels
Meant for One Thing
The Lesser of Evils
Love and Nemesis
The Sinning Bishop
The World In Your Pocket
Higher Purpose
A Promising Look at Genesis
Not For The Ladies
Fooling Around and Falling In Love
The Tediousness of Tragic Love
Poetic Analysis for "The Trees"
Creation On Dub
Creating the Universe
Fast Acting In Small Doses
As Crazy As They
We Can Always Use More Utopia
A Little Church in Corinth
The Theory of Carl Rogers
Historically Speaking
Different Shades, Same Color
A Rose for a Funeral
Obsessed With Race

     The society of old Mali, as described in Sundiata: An Epic of Old Mali translated by D. T. Niane is one in which women are held separate and unequal to men. With some exceptions, their roles are defined only in relationship to men, who hold official positions of authority, and, often a large degree of practical, and unquestioned, control of the women with whom they are in relations with.
     First and foremost it seems worthwhile to note that the epic is related by a male, and there is no mention of any female griots anywhere within. This would imply that the oral history of Mali, including "Secrets many centuries old," (1) and "What is to be kept concealed," (84), is the exclusive domain of males. Therefore, the work itself reflects an unbalanced view of women, coming from a point of view of "otherness." This would also affect the female characters within the work, as their understanding of their collective history would come from the "other" perspective.
     Moving into the story itself, shortly after a recitation of the kings of Mali leading up to Maghan Kon Fatta (Sundiata’s father), a female character is mentioned for the first time: "Oh that woman! She is ugly, she is hideous, she bares on her back a disfiguring hump. Her monstrous eyes seem to have been merely laid on her face, but, mystery of mysteries, this is the woman you must marry, sire, for she will be the mother of him who will make the name of Mali immortal forever (6)."
Immediately upon our introduction to the epic’s first female character, she is reduced to, first, her physical appearance, and, then, to her (future) roles of wife and mother. Admittedly, the prior is certainly to provide contrast with Sundiata’s father who "Was renowned for his beauty in every land (4)," but further concern with her looks, including the king’s embarrassment (7), suggests an inordinate concern with women’s physical beauty. The second point however, the roles of wife and mother, or, the relationship between a woman and the men who control her destiny, plays a much more important role. For indeed, it does seem as though women’s destinies in old Mali are inexorably tied to, even controlled by, the males with whom they are connected.
     While it does seem that women could control some degree of property, and receive inheritance (being cheated of her inheritance is what drove the Buffalo Woman to violent revenge), in general, it seems that they were still kept from positions of power. Even Sassouma Bérété, the first wife of Sundiata’s father wondered "What would become of her . . . if her son were disinherited (13)", implying that without her relationship to a male power-figure she would be stripped of her privilege. Later, after Maghan Kon Fatta’s death, rather than rule herself, she does so through her son. She is referred to as "all powerful (18)," but is not granted any official position of power, nor does she seem involved in official decision-making processes.
     Meanwhile, Sogolon, Sassouma Bérété’s rival, after Maghan Kon Fatta’s death, takes on the role, primarily, of mother to Sundiata. In fact, it is because she is Sundiata’s mother, not because of any aspect of herself that she is at odds with Sassouma Bérété. In a way, the goals of women in Sundiata arise from the conflicts in the realm of men, and play themselves out in that domain. Later on, Sassouma’s daughter Nana Triban provides another example. She is able to take action not directly, but by betraying her husband, Soumaoro, to his enemy, Sundiata. Furthermore, the betrayal is only possible because of her willingness to feign submission to Soumaoro, and to play the role of wife to its fullest.
It is worth noting that Nana Triban was not willingly married to Soumaoro, but her family, specifically her brother, the king, forced her to it: "My brother sent me by force to Sosso to be the wife of Soumaoro . . . I wept a great deal . . ." (57). There are other indications as well that marriage was largely an interaction between the groom, and the male family of the bride: "The two hunters were considered as being relatives of Sogolon and it was to them that Gnamkouman Doua bore the traditional cola nuts. By agreement with the hunters the marriage was fixed for the first Wednesday of the new moon.(9)."
     In the case of Sogolon, this contract between her male "family" and her future husband is held as a justification of rape. Sogolon takes clear action to indicate she does not want to consummate the marriage - using one’s wraith to grow long-hairs all over one’s body even being rather extreme. The king, however goes so far as to threaten her life, causing her to faint, allowing him the opportunity to impregnate while she is incapacitated. Within the institution of marriage this is evidently seen as legitimate, and the incident is related by the male griot without any sympathy or comment.
     The only role which women seem to play in the novel that is not defined in relationship to men seems to be that of the powerful witch. However, the witches, and for that matter, the Buffalo of Do (In the form in which the hunters first encounter her) are all described as old women (7, 24). They are stripped of their sexuality, and they may be free of males, by they are reduced to hags. They are associated with violent sorts of magic; Sassouma addresses the "nine hags" saying, "You who rule supreme at night nocturnal powers, oh you who hold the secret of life, you who can put an end to one life (24)," and their leader is described as "dangerous" (24). It is as though, socially, these characters are not women, but outsiders of a different sort.
     In essence, Sundiata: An Epic of Old Mali takes place in a patriarchal society, which, while allowing women some rights and powers, essentially views them primarily in the context of their relations with men. They are also seemingly confined to a limited number of roles, and largely excluded from official positions of power.

Katherine Kennon (2004)