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Nigeria is swamped with several acts of violence emanating from political, ethnic, religious, tribal and cultural practices which have created problems for the society. However, long before the very popular acts of terrorism spread in Nigeria, certain traumatic and frightening situations have been on-going, among which is women subjugation. In recent times, it is rampart, trivialised and without concealment in Nigeria. It has ascribed oppression, lack of self will and slavery at all levels. A handful of counterterrorism theories have emerged towards women liberation and several other methods adopted by committed feminist writers countering the threats posed on women, drama is one of such methods. This paper examines the calculated creative input of playwrights to reprimand the various acts of terror on women in the Nigerian space. The paper engages a literary methodological approach to interrogate Binebai’s Karena’s Cross essentially, to drive home several concerns about issues of terrorism rooted on cultural practices harmful to the female gender orchestrated by the patriarchy. The investigation reveals the several negative practices that are deep seated in culture, aimed at advancing male dominance and inequality in society. It recommends the creation of a strong theatre culture in Nigeria, to key into the influential social discourse and clarifications imbedded in drama. This will be a worthy proactive defensive move for the disintegration of such customs and traditions. It concludes that women must also develop a large heart to confront those issues that question their very existence. Only resilient women with the inclination to rise and be free can counter terrorism against the female gender.