ABSTRACT
This paper explores the concept of socio-cultural shocks and differentials by utilizing a play text as a case study. The chosen play text Her Majesty’s Visit by Adinoyi Ojo Onukaba serves as a strong backdrop to examine the impact of cultural clashes, societal norms, and diverse perspectives on characters and their relationships. By dissecting the play’s themes, characters, and settings, this study aims to understand the root causes of socio-cultural shocks and identify the potential consequences they bring to individuals and communities. While using literary and analytic methods to enrich the study, the cultural adaptation theory was deployed to provide the pillar on which the work stands. The consequences of socio-cultural shocks and differentials can be both challenging and transformative, and individuals may initially experience difficulties and discomfort. They also have the potential for personal growth, increased cultural sensitivity, and a widened worldview. This paper concludes that with patience, open-mindedness, and a willingness to learn, individuals can navigate these shocks and differentials to become more adaptable and culturally competent.
Keywords: Socio-Cultural, Shocks, Differentials, Adaptation, Perspectives
Background
Drama is a form of literature or performing arts that involves a storyline typically a play, stage production, or film that tells a story through dialogue and action, usually involving conflict and emotions. Drama in itself is “a very important aspect of the life of any society” (Nasiru, 2013, p. 1). It is an art often used to evoke various emotions such as laughter, sadness, anger, or empathy in the audience. S. Gbilekaa et al, avers that:
Literary works have been instrumental to the shaping and impacting of society from different spectrums with the aim of critically examining and correcting societal ills. Of all the genres of literature, drama is perhaps the most unique in structure, form and purpose. Drama is an influential branch of literature that draws its impetus from prevailing circumstances, historical and contemporary events, socio-political, cultural, economic and religious phenomena (16).
Nasiru (2013, p. 3) recalls that: ‘When Wole Soyinka was invited to write and stage a play as part of Nigeria’s independence celebrations in 1960, the gesture was an acknowledgement of the fact that drama and literature in general had an important role to play in the life of the emerging nation. “Owonibi (2014, p. 290) submits that “Literature as a reflection or refraction of society confers on the creative writer the roles of a chronicler, a social critic, and visioner”. Achebe (1988, p. 17) had earlier asserted that “Literature, whether handed down by word of mouth or in print, gives us a second handle on reality.” On their part, Affiah and Elekwachi (2018, p. 11) see literature as “a reflection of life; it is a mirror, held up by the literary artist for society to see its reflection; for society to see itself in.”
From the foregoing, drama can arguably be recognized as a voice and social force to be reckoned with in any society. Drama, creative and literary arts have always served as communal social crusaders over time towards the building and rebuilding of culture, values, and united society. They help birth a society where the people see themselves as one and are not divided by their differences. It is against this background that this study examines the socio-cultural shocks and differentials in Onukaba’s Her Majesty’s Visit.
Sociocultural shocks and differentials refer to the variations and unexpected experiences individuals encounter when they are exposed to different cultural practices, beliefs, values and social norms. These shocks and differentials can be both positive and negative, as they challenge individuals to adapt and understand new ways of thinking, behaving, and interacting within a different cultural context. In an increasingly interconnected world, encountering socio-cultural shocks has become a common experience. Through the careful analysis of Her Majesty’s Visit, this paper aims to delve into the complexities of socio-cultural shocks and differentials, shedding light on the causes, and diverse ways these shocks manifest, and exploring their consequences on the characters within the play.
Causes of Socio-cultural Shock
Language barriers can cause misunderstandings, miscommunication, and feelings of isolation and frustration. Different customs and traditions can challenge individuals’ expectations and norms, causing confusion and discomfort. Divergent values and beliefs can lead to conflicts and misunderstandings when individuals are confronted with practices that they find morally or ethically challenging. Varied social etiquette can lead to embarrassment or social faux pas if individuals are unaware of what constitute appropriate behavior in a new cultural setting. Differences in non-verbal communication, such as body language, hand gestures, or personal space, can as well create misunderstandings and discomfort.
Stages of Socio-cultural Shock
Honeymoon Stage: Initially, individuals may experience excitement and enthusiasm about the new culture, embracing the novelty and differences.
Crisis Stage: As individuals encounter challenges and unexpected situations, they may experience frustration, homesickness, culture shock, and feelings of isolation.
Adjustment Stage: Individuals start to adapt and understand the new culture, finding ways to navigate through challenges and integrate themselves into the new environment.
Adaptation Stage: Individuals become comfortable and accustomed to the new culture, incorporating aspects of it into their own identity and finding a sense of belonging.
Cultural Differentials
Cultural differentials are the variations and contrasts between different cultural backgrounds or social norms. These differentials demonstrate the diversity that exists between societies and can manifest in various ways. Different cultures may have different communication styles, such as directness or indirectness, which can lead to misunderstandings and misinterpretations. Cultural differentials are observed in the way societies structure power dynamics, whether through hierarchies, individualism, collectivism, or egalitarianism. Cultures may prioritize different values and beliefs, such as competition, cooperation, individualism, or community orientation. Cultures can have different attitudes towards time, whether they emphasize punctuality, flexibility, or a more relaxed perception of time. Different cultural customs can relate to greetings, table manners, etc, which can vary significantly between cultures.
Consequences of Socio-cultural Shocks
The consequences of socio-cultural shocks and differentials can vary depending on individuals and their ability to adapt to new cultural contexts. Culture shock is a common consequence of socio-cultural shocks and differentials. It refers to the feelings of disorientation, anxiety, confusion, and isolation that individuals experience when exposed to a new culture. This can lead to homesickness, frustration, and a sense of not belonging or understanding the new cultural environment. Also, socio-cultural shocks can have a significant psychological impact on individuals. They may experience feelings of frustration, helplessness, and stress due to the challenges of adapting to a new culture. The unfamiliarity and lack of social support can also contribute to anxiety and even depression in some cases.
Equally, the process of adapting to a new culture can be challenging. Individuals may struggle to understand and adhere to new social norms, customs, and values. This can lead to difficulties in building relationships, feeling accepted, and integrating into the new cultural environment. Communication is also an essential aspect of socio-cultural interaction. Cultural differentials may result in language barriers, misunderstandings, and misinterpretations, which can hinder effective communication. This can lead to frustration, reduced social connections, and difficulties in expressing oneself. Socio-cultural shocks can also lead to an identity crisis as individuals question their own cultural identity and values in comparison to the new culture. This can create a sense of confusion and conflict in terms of personal beliefs, attitudes, and behaviors.
Encountering socio-cultural shocks and differentials often fosters an appreciation for diversity. Individuals gain a deeper understanding of the richness and value of different cultural practices, beliefs, and perspectives. This can lead to increased tolerance, respect, and acceptance of cultural differences. Successfully adapting to socio-cultural shocks and differentials can result in social integration into the new cultural context. This integration may bring opportunities for new friendships, strengthening an existing relationship, professional connections, and a broader global perspective.
Strategies to Navigate Socio-cultural Shocks
Some of these strategies include developing an open-minded and non-judgmental attitude towards different cultural practices and traditions. Seeking to understand and learn about the new culture’s customs, norms, values, and beliefs to facilitate effective communication and integration; being open to new experiences, accepting challenges, and adjusting one’s behavior, expectations, and mindset to fit within the new cultural context, emphasizing the learning opportunity and personal growth that can come from experiencing socio-cultural shocks and differentials.
The Biography of Adinoyi Ojo Onukaba
He earned his fame, first as a journalist, much as he was a theatre artist. He graduated with a second class upper in theatre arts, from the University of Ibadan, in 1980. He subsequently obtained a masters in journalism and a doctorate in performance studies, respectively from the New York University. For the mandatory one – year National Youth Service Corps (NYSC) programme established in 1973 by government as one of its post-civil war reintegration programmes, he was engaged by the Federal Radio Corporation of Nigeria, he worked at (FRSC), Lagos headquarters, of the organization between 1982 and 1983, working on the news desk.
At the inception of The Guardian newspaper in 1983, he was recruited as one of the pioneer reporters of the new tabloid. He was thereafter deployed to the Murtala Mohammed International Airport, (MMIA), Lagos, as correspondent, where he helped in developing the beat as a specialised genre, of aviation reportage, in the newspaper culture in Nigeria. He was noted for the zeal, innovation, creativity and insights he brought to bear in that department, which earned him regular bylines on the front pages of The Guardian. He subsequently rose to the position of news editor for the Sunday edition of the newspaper. He was on this brief, until his departure to the United States of America (USA) for further education in 1989.
Side by side with his graduate studies, Onukaba served in several capacities which reinforced his inclination as a journalist. He functioned as Information Officer in the Division for the Coordination of Humanitarian Affairs, United Nations Operation in Somalia (UNOSOM), between 1994 and 1995. From 1998 to 1999, he was Press Officer, Department of Public Information, United Nations (UN), in New York. In June 1998, he was deployed to Iraq as Information Officer, United Nations Office of the Humanitarian Coordinator, (UNOC). These various engagements and experiences in information and media based capabilities, reinforced the journalistic bent of Onukaba Adinoyi-Ojo.
He returned to Nigeria, early 1999 to volunteer in to the presidential campaign of Nigeria’s former military Head of State, Olusegun Obasanjo, a retired army general, who he, Onukaba had met and developed a relationship with, during his years on the aviation schedule. Fortuitously, Atiku Abubakar, another friend of Onukaba’s, cultivated back in the days of his airport correspondence, emerged running mate to Obasanjo ahead of the 1999 presidential election. Subsequent upon the victory of the Obasanjo/Atiku ticket at the February 1999 poll, Onukaba was engaged as Special Assistant on Media, to the new Vice President, Atiku Abubakar. Barely months after, he was appointed Managing Director of the Daily Times. He returned to Abuja in 2003, as Senior Special Assistant on Media, to the Vice President. These various assignments evidently foregrounded a long and subsisting media career.
Synopsis of Her Majesty’s Visit
Her Majesty’s Visit is about Simpa Oboh, a doctor who leaves Nigeria to earn foreign currency in the USA. On arrival in New York, he discovers things are not easy for a non-resident immigrant. Unable to practice as a doctor, Simpa toils precariously in the dark, dirty, demeaning world of undocumented immigrants. His situation changes upon meeting Danielle, an African-American who becomes his wife. Eneyi, the mother he left behind in Nigeria, shows up suddenly in New York determined to drag him back to Nigeria into the waiting arms of Asido, his childhood heart-throb. Hosting Eneyi proves most difficult. Simpa is caught between a tough mother and a wife no longer able to tolerate Eneyi’s hostility towards her. Relief comes from Asido who writes to inform Simpa about her engagement to his childhood friend. Eneyi has no choice but to embrace Danielle.
The Story
It has been two years now since Simpa Oboh left his small, dusty town in the middle of Nigeria for the United States of America. With only his stethoscope in hand, he has come to the fabled land of opportunities, planning a short stay and dreaming of some quick, fat dollars. He would be back in six months, he said, to build his own clinic and a secure and comfortable future for himself and his entire family, including, of course, the woman he left behind in Nigeria. But things did not quite work out the way he had hoped. The first few months were rough, in fact so rough he traded his stethoscope for a series of menial jobs. His not-valid-for-employment visa expired three months after his arrival. To work as a doctor, he must pass the qualifying examinations in addition to securing a work permit. And so, Simpa toiled precariously in under the radar, doing all manner of odd jobs. His dreams unfulfilled, he was afraid of going back home be ridiculed. His father died but he could not attend the burial. His situation changed suddenly after meeting Danielle White, a 35-year-old African-American pediatrician, who would later be his wife. The family in Nigeria waits. His letters are no longer regular. With her health failing, Eneyi sets out for the USA in search of her son. In New York, it is easy finding him. But will it be easy hosting mother?
Plot Analysis of Her Majesty’s Visit
In Her Majesty’s Visit, Onukaba portrays the arrival of Eneyi in New York to a fictional African-American home and the subsequent clash of cultures. The play exemplifies the shock and fascination experienced by the African population as they encounter elements of British colonialism, such as the rigid class system and the Queen’s visit as a symbol of power and dominance. Through the lens of three characters, Onukaba explores the complexities of cultural exchange, highlighting the tensions and challenges that arise when different cultural values and practices collide. Eneyi wanted the African way of making visitors feel at home and the tradition of being one’s brother’s keeper, which is not the usual in America.
ENEYI: (to the cab driver): Make this your home.
SIMPA: (protests politely): Mama, you are in…!
ENEYI: (ignores his protest): This is your African brother. When you are sick, come to him.
SIMPA: Mama!
ENEYI: May you find what brings you here. And return safely home… Ah, your jacket (removes it, gives it to the unseen driver at the door). Thanks for that. Keep the telephone number…
SIMPA: (pulls Eneyi aside, quietly): Whose telephone number?
ENEYI: Yours. Why?
SIMPA: Mama, you can’t….
ENEYI: And keep the house address too.
SIMPA: (horrified): Mama!
ENEYI: Stop by sometimes for lunch or dinner.
SIMPA: (pulls Eneyi aside again, quietly): Mama, this is New York. You don’t just open your doors to strangers like that!
ENEYI: (a quiet rebuke): He is not a stranger; he is your African brother.
SIMPA: Yeah, but there’s a limit….
ENEYI: No limit to brotherhood. (To the cab driver) See you soon, my dear. May Allah bless you.
SIMPA: There is a limit to African brotherhood in New York.
Similarly, the play provides a thought-provoking exploration of the socio-cultural shocks and dis-similarities experienced by individuals when confronted with foreign influences as it places emphasis on differences in foods, courtesies, greetings, and exchange of pleasantries. Eneyi suddenly enters the home of a couple who already has an understanding of each other and harmonious union, with strong desire and expectation to have them do things the traditional way. She however experienced an expectation gap.
ENEYI: Did I hear bacon?
SIMPA: (innocently): Yeah, and scrambled eggs, bran muffin, whole wheat bread, and cereals.
ENEYI: So you have been eating pork.
SIMPA: Mama, this is America. You eat whatever comes your way. It’s no place for strict dietal taboos.
ENEYI: No good Muslim eats pork!
SIMPA: Alright. Pork is out. Tea or coffee?
ENEYI: Tea. (Simpa exits. Eneyi views the city from the window) A-m-e-r-i-c-a!
SIMPA: (enters with plates, cups, cutlery): How do you like the city so far?
ENEYI: Not much. Too many houses in the sky.
SIMPA: (setting the table): Yeah, far too many.
ENEYI: Don’t they have enough land?
SIMPA: Yeah, especially on this island.
ENEYI: What is this yah yah?
SIMPA: It’s the same as yes.
ENEYI: It’s not. I have been teaching English for decades and I have never come across “yah” anywhere.
SIMPA: It’s common in America.
ENEYI: It’s not common in proper English. I don’t want to hear it again.
SIMPA: Alright, mama.
We also see the picture of identity, and the cultural dynamics between colonizers and the colonized. The plot also revolves around the arrival of Eneyi and her high expectations from Danielle who has not received orientation on African cultural appreciation and aesthetics. This triggers a series of discomfort that disrupt the existing tranquility in her home. Danielle hopes to impress ‘her majesty’ and gain favor with her, seeking typical mother in-law’s benefits, but she will have a lot to do. The play explores Eneyi insistence to protect the African cultural values.
DANIELLE: (steps forward daintly for a handshake): Hi. Welcome to…..
ENEYI: (gives her a nasty look): Me, hi?
SIMPA: (trying to save the situation): Mama, it’s a greeting, a common American greeting.
ENEYI: (rises, faces Danielle): You have insulted me, woman! (Danielle is shocked. Simpa is visibly worried). Look at my head (uncovers her head). I didn’t buy this grey hair from the market. They are real. I’m 55 years old and I deserve some respect. How dare you stand in front of me asking for a handshake? Are we mates? “Hi” to the mother of the man you have held hostage?
SIMPA: Mama!
(Danielle withdraws; exits slowly. Simpa runs after her).
ENEYI: I have never in my life met such a manner-less woman.
SIMPA: (re-entering, visibly angry): That was uncalled for, mama.
ENEYI: Yes, her insolence was uncalled for.
SIMPA: That’s the way they greet here.
ENEYI: That is not the way I want to be greeted.
SIMPA: She’s an American. Americans don’t give a damn about greetings.
ENEYI: Then throw her out.
The play delves into the internal conflicts faced by the characters, who wrestle with their own cultural identity and the impact of individual differences on their relationship.
DANIELLE: (sits, folding the napkins into the tray): She has to leave!
SIMPA: (on the floor, helping her): She’s my mother.
DANIELLE: I don’t care. Get her out of here.
SIMPA: To where?
DANIELLE: That’s your headache, baby.
SIMPA: Danielle, let’s sort this out reasonably.
DANIELLE: What’s her problem?
SIMPA: It’s cultural.
DANIELLE: Why was she so rude to me?
SIMPA: I’m sorry. I didn’t know she was coming. I would have put you through some crash lessons on African etiquette.
DANIELLE: Curses! Nothing but curses the very minute she set her eyes on me.
SIMPA: I’m sorry.
DANIELLE: She hates me, your mother hates me.
SIMPA: She doesn’t hate you.
DANIELLE: She does. And stop defending her!
SIMPA: Calm down, Danielle.
The climax of the play occurs at dinner Danielle had prepared lunch and had taken crash lessons from Simpa on how Eneyi would want to be greeted and other African etiquette she should know to be at peace with Eneyi. Sadly, she still could not satisfy the latter, her efforts and sacrifices come to naught. Here, the clash between American culture and African traditions comes to a head. Eneyis’ dismissive and disparaging attitude towards Danielle’s efforts further highlights the socio-cultural disparity in the play as it triggers the latter’s explosion.
DANIELLE: (explode): Why in the hell are you so hostile? What else do you want from me? I’ve done things here today that I never would have imagined. Kneeling and bowing to your royal majesty, running up and down the kitchen when I should have been sleeping after a hard night’s job. How low do you want me to stoop, woman?
ENEYI: As low as you choose to.
DANIELLE: (loudly): Enough!
ENEYI: (loudly): Don’t you ever raise your voice at me!
DANIELLE: (screaming): Don’t you ever threaten me!
ENEYI: (scornfully): You manner-less woman!
DANIELLE: (with equal scorn): You evil woman! (Eneyi throws her remaining water on Danielle’s face. Danielle retaliates. For some tensed seconds, Eneyi raises her empty glass poised to smash Danielle’s head with it, Danielle is ready to hit back. Then, Eneyi puts her glass down, wipes her face, picks up her book, goes back to the sitting area, and sits, seething with anger. Danielle approaches still holding the empty glass). Now listen to me! Listen to me good! You’ve humiliated me all day. And I stood here like a child, taking it all without even a whine. You know why? Do you know why I’ve tolerated you thus far? My marriage. I hope to do everything possible to make it work. It worked for my parents. Four decades now, that’s how long they’ve been together. In a world littered with failed marriages. I’m determined to make mine work; but there is a limit, woman.
ENEYI: (calmly): Yes, there is a limit to which you will go with my son. In case he hasn’t told you, he has a wife.
DANIELLE: And I’m that wife!
ENEYI: No. A wife in Nigeria.
DANIELLE: An ex-wife.
ENEYI: (chuckles mischievously): Ex-wife? He must have lied to you. He has a wife at home, a nurse. Asido is her name. They have known each other since they were children. Let me show you something. (Shows her two photographs). Look at these. Her most recent photographs; a beautiful girl….
In time past, several measures have been taken to salvage these socio-cultural dissimilarities and to mitigate sociocultural discordance. Unfortunately, most of the efforts have been futile and abortive. The resolution of the play emphasizes the resilience and determination of the African people. Simpa and Eneyi rally together, embracing their cultural heritage and rejecting the attempts to dishonor it. It is through Simpa’s resilience, patience, determination and calmness in the face of the clashes and conflicts that the trouble which could have rocked his marriage, were assuaged.
SIMPA: The letter from Asido. Here, mama. I can’t believe this (reads) “I advised your mother not to come there. I understand her concern but I’m not prepared to make fool of myself. We were probably never meant to be together. I wish you and your wife happy married life. Ochi sends his regards.” (Simpa stops, turns to Eneyi with a bewildered look). Mama, Asido is pregnant.
ENEYI: (excited): For you?
SIMPA: How can? (pained) It’s for Ochi. My friend, Ochi.
ENEYI: That’s not true.
SIMPA: It’s all here, mama.
ENEYI: (wistfully): No wonder Ochi hasn’t been coming to see me!
SIMPA: (in a fit of jealousy): How could she do that? (Eneyi walks away quietly. Danielle watches quietly). What about the dinner, mama?
ENEYI: Not for me, I’m tired.
SIMPA: Get some rest, mama. Good night, ma.
ENEYI: Good night, son.
DANIELLE: Good night, mama, (Eneyi does not respond, Danielle is disappointed. Eneyi exits, leaving Simpa and Danielle staring at each other. Finally, they embrace. The phone rings just as they are about to kiss).
SIMPA: (picks up): Hello…. What about those on duty? ….Okay….I’m on my way… (he drops). Fire in the Bronx, two with serious burns. I’1l be back before the dinner.
DANIELLE: Bring more wine.
SIMPA: Okay. (They hug again. Eneyi enters, coughs for attention just as they are about to kiss; Simpa and Danielle quickly disengage).
ENEYI: (to Danielle): Come here. (Danielle hesitates, then goes to Eneyi. Simpa watches keenly).
ENEYI: (puts a precious African bead on Danielle’s neck): You will need this for the dinner, daughter. (Danielle bows slightly, then walks back to Simpa admiring the bead. Eneyi exits. Danielle and Simpa hug and kiss).
Conclusion
We have established that socio-cultural dilemmas include feelings of surprise, disorientation, and confusion experienced when individuals are exposed to customs, beliefs, values, behaviors, and practices that are different from theirs. This paper seeks to deepen our understanding of socio-quandries through an in-depth analysis of a play text. It sheds light on the causes and consequences of these incidents in the body of the play. This study will contribute to socio-cultural studies by highlighting the importance of cultural sensitivity, empathy, and dialogue in managing and bridging socio-cultural gaps in our increasingly diverse world. We therefore submit that with patience, open-mindedness, and willingness to learn, individuals can navigate new and challenging sociocultural experiences to become more adaptable and culturally adaptable.
Works Cited
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