DOCSLIB.ORG

The Making and Remaking of Gender Relations in Tanzanian Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Making and Remaking of Gender Relations in Tanzanian Fiction The Making and Remaking of Gender Relations in Tanzanian Fiction by John Wakota Dissertation presented for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Grace A. Musila Co-supervisor: Prof. Shaun Viljoen April, 2014 Stellenbosch University http://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. April 2014 Copyright © 2014 Stellenbosch University All rights reserved i Stellenbosch University http://scholar.sun.ac.za Dedication To the memory of my late parents: Xavery and Akoba. ii Stellenbosch University http://scholar.sun.ac.za Abstract This study examines the fictional representation of gender relations in novels set during five historical periods in Tanzania – the pre-colonial, colonial, nationalism, Ujamaa1, and the current neoliberalism period – each of which is marked by important shifts in the nation’s economic contours. Analysing novels written in both Swahili and English, it tracks the shifts in fictionalized household and extra-household gender relations; analyses how the community and the state (colonial and post-colonial) variously map and remap the way male and female characters relate; and interrogates how male and female characters variously accommodate, appropriate, bargain with and/or resist the shifts. The study employs the concepts of power and intersectionality to analyse how selected authors depict gender relations as a product of intersecting identity categories, complex socio-economic shifts and historical processes. Defining labour as productive work done for wage and fulfilment of gender roles, the study argues that labour is one of the major aspects shaping power relations between men and women. It reveals that labour is the major aspect in which the economic shifts have had great impact on gender relations as represented in Tanzanian fiction. As an aspect of power, labour is also the area within which gender relations have continuously been negotiated and contested throughout the fictionalized history. In negotiating or resisting given economic shifts, both male and female characters variously deconstruct and or endorse existing notions of power, labour, and gender relations. The study shows that the cross-fertilization among the periods, the interaction between gender and other identity categories (such as race, religion, class, and age), the synergy between indigenous patriarchy and other patriarchies (such as colonial and capitalist), and, the interactions between global and local dynamics account for the complex and contradictory nature of the shifts in gender relations throughout the nation’s history. Consequently, the study’s major observation is that across the fictionalized history, characters variously seek to maintain and or transform existing gender relations and or discard or restore past gender relations. 1 Swahili for ‘familyhood’ and Tanzania’s version of socialism. iii Stellenbosch University http://scholar.sun.ac.za Opsomming Dié studie ondersoek die fiksionele verteenwoordiging van geslagsverhoudings in romans wat gestel word gedurende vyf historiese periodes in Tanzanië – pre-koloniale, koloniale, nasionalisties, Ujamaa2 en die huidige neoliberalisme – elkeen waarvan gekenmerk is deur belangrike verskuiwings in die nasie se ekonomiese kontoere. Deur die analisering van romans wat in Engels en Swahili geskryf is volg dit die verskuiwings in fiktiewe huishouding- en ekstrahuishoudelike geslagsverhoudings; dit analiseer hoe die gemeenskap en die staat (koloniale en post-koloniale) die manier van hoe manlike en vroulike karakters verband hou verskillend en afwisselend kaart en herkaart; dit interrogeer hoe manlike en vroulike karakters verskillend die verskuiwings akkommodeer, bewillig en weerstaan. Die studie maak gebruik van die konsepte van krag en intersektionaliteit om te analiseer hoe die geselekteerde skrywers geslagsverhoudings verteenwoordig as ʼn produk van kruisende identiteitskategorieë, komplekse sosio-ekonomiese verskuiwings en historiese prosesse. Arbeid word as produktiewe werk wat gedoen word vir loon en geslagsrolle definieer, en die studie argumenteer dat arbeid een van die hoof aspekte is wat magsverhoudings bepaal tussen mans en vrouens. Dit onthul dat arbeid die hoof aspek is in die ekonomiese verskuiwings wat ʼn groot impak gehad het in geslagsverhoudings in Tanzaniese fiksie. As ʼn aspek van mag is dit ook die area waarin geslagsverhouding aanmekaar onderhandel en betwis word dwarsdeur die fiktiewe geskiedenis. Wanneer dit kom by die onderhandel en twis van ekonomiese verskuiwings is dit beide manlike en vroulike karakters wat afwisselend bestaande idees van mag, arbeid en geslagsverhoudings dekonstrueer en endosseer. Die studie bewys dat kruisbestuiwing tussen die periodes, die interaksies tussen geslag en ander identiteitskategorieë (soos ras, geloof, klas en ouderdom), die sinergie tussen patriargie en ander patriargies (soos koloniale en kapitalistiese) en die interaksies tussen globale en plaaslike dinamika verantwoordelik is vir die komplekse en teenstrydige natuur van die wisselinge in geslagsverhoudings regdeur die nasie se geskiedenis. Gevolglik is die studie se hoofobservasie dat die karakters regdeur die geskiedenis op verskeie maniere poog om bestaande geslagsverhoudings te behou of te transformeer of om vorige geslagsverhoudings te herstel of verwyder. 2 Swahili vir ‘familieskap’ en Tanzanië se weergawe van sosialisme. iv Stellenbosch University http://scholar.sun.ac.za Acknowledgements The writing of this dissertation is the most significant academic challenges I have faced in my life. It is through the unrelenting effort, support and guidance of different people and institutions that this thesis has been completed. I register my greatest gratitude to my supervisors, Professor Grace Musila and Professor Shaun Viljoen. Without them, this dissertation would have simply been impossible. I hereby acknowledge the funding that was awarded to me by the Graduate School of Arts and Social Sciences to pursue my doctoral studies full-time at Stellenbosch University. I am grateful to my employer, the University of Dar es Salaam, for granting me a study leave and shouldering the costs for my travels. I am thankful to my colleagues in the department for keeping the department running while I was away. I deeply appreciate the Postgraduate and International Office of Stellenbosch University and the Humboldt Institute of African Studies, Berlin for jointly funding a one-month research stay at the Humboldt Institute of African Studies, Germany in 2011. I am thankful to the North-South-South Higher Education Institution Network Programme for funding and facilitating my participation in a two-week training on ‘Gender, Nationalism and Situated Knowledge’ in Addis Ababa, Ethiopia in 2012. I am indebted to the staff members of the Department of English at Stellenbosch University for organising different seminars, workshops and reading groups. I learnt a lot from them. I am thankful to fellow doctoral students in the Department of English. Many thanks go in particular to Danson Kahyana, Lynda Spencer, Ken Lipenga, Oliver Nyambi, Kaigai Kimani, Philip Aghoghovwia and Yunusy Ng’umbi for their encouragement. Special gratitude is due to the Wakotas: Grace, my wife; son Eliah; daughter Mwati; and Aunt Anna. I am indebted to you more than you know. v Stellenbosch University http://scholar.sun.ac.za Table of Contents Declaration................................................................................................................................. i Dedication ................................................................................................................................. ii Abstract ................................................................................................................................... iii Opsomming .............................................................................................................................. iv Acknowledgements .................................................................................................................. v Table of Contents .................................................................................................................... vi Chapter One: Tanzania: Socio-economic Shifts, Fiction, and Gender Relations .............. 1 Introduction ....................................................................................................................................... 1 Historical Approach to Analysing the Representation of Gender Relations ............................... 5 Gender Relations in Tanzanian Fiction: A Review ........................................................................ 7 Language Policy, Literature and Literary Studies ...................................................................... 10 Defining Tanzanian Fiction ............................................................................................................ 13 Selection of Texts ............................................................................................................................
Load more

Recommended publications
  • The Image of Water in the Poetry of Euphrase Kezilahabi the Image of Water in the Poetry of Euphrase Kezilahabi
    THE IMAGE OF WATER IN THE POETRY OF EUPHRASE KEZILAHABI THE IMAGE OF WATER IN THE POETRY OF EUPHRASE KEZILAHABI KATRIINA RANNE Studia Orientalia 118 THE IMAGE OF WATER IN THE POETRY OF EUPHRASE KEZILAHABI KATRIINA RANNE Helsinki 2016 The Image of Water in the Poetry of Euphrase Kezilahabi Katriina Ranne Studia Orientalia, vol. 118 Copyright © 2016 by the Finnish Oriental Society Editor Lotta Aunio Co-Editor Sari Nieminen Advisory Editorial Board Axel Fleisch (African Studies) Jaakko Hämeen-Anttila (Arabic and Islamic Studies) Tapani Harviainen (Semitic Studies) Arvi Hurskainen (African Studies) Juha Janhunen (Altaic and East Asian Studies) Hannu Juusola (Middle Eastern and Semitic Studies) Klaus Karttunen (South Asian Studies) Kaj Öhrnberg (Arabic and Islamic Studies) Heikki Palva (Arabic Linguistics) Asko Parpola (South Asian Studies) Simo Parpola (Assyriology) Rein Raud (Japanese Studies) Saana Svärd (Assyriology) Jaana Toivari-Viitala (Egyptology) Typesetting Lotta Aunio Sari Nieminen ISSN 0039-3282 ISBN 978-951-9380-90-2 Picaset Oy Helsinki 2016 CONTENTS PREFACE ...........................................................................................................ix ACKNOWLEDGEMENTS .....................................................................................xi 1. INTRODUCTION ............................................................................................. 1 1.1 Untouched water ...............................................................................................1 1.2 Kezilahabi and his splash in poetry
    [Show full text]
  • Tanzanian Anglophone Fiction: a Survey
    UTAFITI, Vol. 12, No. 1/2, 2016-2017 TANZANIAN ANGLOPHONE FICTION: A SURVEY John Wakota1 Abstract Tanzanian Anglophone fiction is extant and bustling. The invisibility of Tanzanian fiction in English is not due to the country’s inability to produce good- quality Anglophone novels but is related to the challenge in accessing the texts both within and outside Tanzania. Studies about East African fiction tend to ignore the contribution of Tanzanian Anglophone writers in the region. In Tanzania people know more about other canonical African novelists than their very own Anglophone writers. This article explores the emergence and development of Tanzanian Anglophone fiction, paying particular attention to the emergence of Tanzanian Anglophone literary canons and how these canons have inspired and continue to inspire the production of Tanzanian fiction. Starting with the novels produced by the inaugural Tanzanian Anglophone writers in the sixties, and continuing with the most recent works, the paper examines the interface between Swahili and English, translation and self-translation, diasporic writers, universities’ and researchers’ contributions to the definition of the canon and to the visibility of the fiction in general. Key words: bilingual writers, literary canon, Diasporan African writers, hyper-canonization, selective canons, Swahili literature, Tanzanian Anglophone fiction Introduction Taban Lo Liyong‘s piece ―East Africa, O East Africa, I Lament thy Literary Barrenness‖ constitutes an important launch pad for the discussion of Tanzanian Anglophone fiction. In this ode, Liyong decries the ‗literary bareness‘ of East Africa and wonders when the region will produce ―a Dickens? Or a Conrad? Or a Mark Twain? Or a Joyce Cary?‖ (1975: 43).
    [Show full text]
  • Swahili Forum 10 (2003)
    SSWWAAHHIILLII FFOORRUUMM 1100 Edited by Rose Marie Beck, Lutz Diegner, Thomas Geider, Uta Reuster-Jahn 2003 Department of Anthropology and African Studies Johannes Gutenberg University Mainz, Germany Swahili Forum 10 (2003) A BIBLIOGRAPHY OF SWAHILI LITERATURE, LINGUISTICS, CULTURE AND HISTORY Compiled by Thomas Geider The present alphabetical Bibliography ranging from 'Abdalla' to 'Zhukov' includes old and new titles on Swahili Literature, Linguistics, Culture and History. Swahili Studies or 'Swahil- istics' have grown strong since the mid-1980s when scholars started to increasingly engage in international networking, first by communicating through the newsletter Swahili Language and Society: Notes and News from Vienna (Nos. 1.1984-9.1992) and Antwerp (No. 10.1993) and then through the journal Swahili Forum published at the University of Cologne (Nos. I. 1994 - IX. 2002), not to mention the numerous conferences held in Dar es Salaam, Nairobi, London, Bayreuth and other places, and not to forget the achievements of the journal Kiswa- hili from Dar es Salaam as another steady medium of Swahili scholarship. Part of this net- working consists of continuously updated bibliographical information which has been pro- vided in different forms: a coherent collection of bibliographical data was annually issued in the SLS: NN-Letters, based on regular submissions of correspondents. Swahili Forum was less successful in this as scholars only occasionally sent in information. So from No. VII onwards it was decided to include articles providing bibliographical data. These derived from subjec- tive scholarly interest of the author as well as from regular checking of the book and journal accessions in four major Africanist libraries in Germany (Geider 2000, 2001, 2002).
    [Show full text]
  • After the Arusha Declaration, 1967-1984 Amandina Lihamba
    POLITICS AND THEATRE IN TANZANIA AFTER THE ARUSHA DECLARATION, 1967-1984 AMANDINA LIHAMBA A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY THE UNIVERSITY OF LEEDS SCHOOL OF ENGLISH 1985 ABSTRACT This thesis examines the practice of theatre in Tanzania after the Arusha Declaration of 1967, The Arusha Declaration as Tanzania's blueprint for socialist transformation ushered in an era in which economic and political attempts were made to direct the country towards Ujamaa and away from capitalist structures and development. The social reality of the period has been dominated by the articulation between the attempts for the socialist transformation and the histor­ ical political factors supporting or undermining the transformation. This thesis discusses contemporary Tanzanian theatre within the frame­ work of the political events and social reality after 1967. There are six chapters in the thesis. Chapter 1 provides the historical back­ ground of contemporary Tanzanian theatre. It includes an examination of traditional theatre performances within and outside the colonial experience as well as the historical role of Kiswahili as a chosen language of theatre communication. Chapter 2 looks into the Arusha Declaration, its tenets, objectives, some aspects of its effects on social practices and the theoretical responses regarding the role of an art form such as theatre within Ujamaa. A discussion on the works of Tanzania's leading playwright, Ebrahim Hussein, is the concern of Chapter 3. Chapter 4 examines plays and performances by the other theatre practitioners of the period. Official policies and the practice of theatre in state institutions are described in Chapter 5 and the last Chapter covers the development of theatre for social development as well as the nature of theatre control and censorship in the period under investigation.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from theoriginal or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aity type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inq)roper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality9” black6" x and white photographic prints are available for aity photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Informaiion Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9516985 Pare women and the Mbiru tax protest in Tanzania, 1943-1947: A study of women, politics, and development Dorsey, Nancy Ruth, Ph.D. The Ohio State University, 1994 UMI 300 N.
    [Show full text]
  • Tanzanian Theatre, Neoliberalism and Foreign Aid Complexity
    Beyond Socialism: Tanzanian Theatre, Neoliberalism and Foreign Aid Complexity Inauguraldissertation zur Erlangung des akademischen Grades eines Dr. Phil. vorgelegt dem Fachbereich 05 – Philosophie und Philologie der Johannes Gutenberg-Universität Mainz von Vicensia Shule aus Tansania Mainz, 2010 Table of Contents Summary .......................................................................................................................... iii Zusammenfassung ............................................................................................................ iv Abbreviations .................................................................................................................... v Introduction ...................................................................................................................... 1 1. Re-Conceptualization ..................................................................................................... 9 1.1Theatre ................................................................................................................................. 9 1.2 Culture ................................................................................................................................ 13 1.3Theatricality ......................................................................................................................... 17 1.4Development ....................................................................................................................... 18 1.5Imperialism .........................................................................................................................
    [Show full text]
  • Fifty Years of Kiswahili in Regional and International Development
    Fifty Years of Kiswahili in Regional and International Development by Susan Chebet-Choge, M.Phil. [email protected] Lecturer, Department of Language and Literature Education Masinde Muliro University of Science & Technology, Kenya Kakamega, Kenya Abstract Kiswahili is undoubtedly one of the most developed and expansively used indigenous African languages nationally and internationally. At the dawn of African states political independence, the founding fathers of the nations led by Kwame Nkrumah considered Kiswahili as an appropriate language for African states unity. Adoption of Kiswahili as the universal language of African continent could have gone a long way in realising the dream of the founding fathers of one people, one nation, one language. However, as history bears witness, their dream remained just a wish. On the contrary, Kiswahili, though not accorded Africa continent political recognition, has continued with its linguistic conquest and expansion further from its indigenous base in the East Africa’s coast to various countries in Africa and beyond. The status and usage of Kiswahili has shifted and grown with the political, social and economic growth of nations which use it for various purposes. Currently, it is a regional language in East African countries where it wears several hats as a vernacular, national & official language, lingua franca and a vehicular in various spheres of life. Internationally, Kiswahili has curved for itself a linguistic sphere in the field of academia and international communication. This paper therefore seeks to document and asses Kiswahili’s participation in the last fifty years in national, regional and international developments. 172 The Journal of Pan African Studies , vol.4, no.10, January 2012 Introduction Kiswahili is a language of the Niger-Congo family which Ethnologue has classified as ISO 639- 3: SWA (Lewis 2009).
    [Show full text]
  • How the German Translator-Publisher Is Making Swahili Literature Available in a Notoriously Difficult Market
    SWAHILI FORUM 25 (2018): 138-157 SPECIAL ISSUE: Swahili Literature in Global Exchange: Translations, Translators and Trends, ed. by Uta Reuster-Jahn & Serena Talento NEW RESPONSES TO OLD PROBLEMS: HOW THE GERMAN TRANSLATOR-PUBLISHER IS MAKING SWAHILI LITERATURE AVAILABLE IN A NOTORIOUSLY DIFFICULT MARKET UTA REUSTER-JAHN This article shows how changing ideologies and evolving market forces have combined to lessen German publishers’ enthusiasm for Swahili literature – and how, surprisingly, translators of Swahili are now taking the initiative to ensure that Swahili literature still gets published. After outlining preceding periods of translation and showing how they are determined by ideologies and market forces, I take a close and partially personal look at the development and role of the translator-publishers: how digital technology and new formats have enabled them to take over classical publishers’ tasks. Still, even if translators manage to publish their translated works, they are confronted with the challenge of reaching an audience and creating a space for Swahili literature in German-speaking countries. These translators could possibly join forces to reach a critical mass for translations, thus paving the way for Swahili translated literature to be recognized and appreciated by German-speaking readers. Introduction Only a handful of modern Swahili literary works have been translated into German during the last fifty years. This article will take a look at these activities of translation from Swahili into German in their political and economic contexts. Its focus is on the translators, whose evolving role as a result of changing reception and markets will be explored. Since translated works only become relevant in the literature of receiving languages when they are noticed on the book market and acquire a readership, it is important to ask how translated Swahili literature has performed on the book market in Germany and how this in turn has affected translation activities.
    [Show full text]
  • A Survey of Kiswahili Literature: 1970-1988 (1)
    A SURVEY OF KISWAHILI LITERATURE: 1970-1988 (1) Mugyabuso M. MULOKOZI University of Dar es Salaam Institute ofKiswahili Research P.O. Box 35110, Dar es Salaam, Tanzania CURRENT RESEARCH INTEREST: Kiswahili language and literature, writing and publishing * SUMMARY A survey is given of the development ofKiswahili written literature during the past two decades. Particular attention is given to (a) the rise of the socially critical literature, (b) the emergence of experimental forms of literature, (c) the growing popularity of pop'fiction, (d) the continued development of the nationalistic-cum- cultural novel and (e) the quantitative and qualitative growth of Kiswahili translations. All this is placed against the background of East-African cultural and political developments since Independence. KEY WORDS: Tanzania, Swahili, literature (poetry, drama, fiction), East African historical and political development * M.M. Mulokozi (PhD) is currently Senior Research Fellow at the Institute of Kiswahili Research, University of Dar es Salaam. He has been active as a publisher at Tanzania Publishing House, and as a creative poet and playwright. Recently, he has embarked upon writing children's books in Kiswahili. Between 1988 and 1991, he was Director in charge of Language Affairs in the Tanzanian Ministry of Culture. 49 1.0. INTRODUCTION Kiswahili is the most widely spoken African language. It is spoken by an estimated 70 million people in several Eastern and Central African states, viz. Burundi, the Comoro Islands, Kenya, Madagascar, Malawi, Mozambique, Rwanda, Somalia, Tanzania, Uganda, Zaire and Zambia. Kiswahili is the national language of Kenya, Uganda and Tanzania, and one of the national languages of the Comoro Islands and Zaire.
    [Show full text]
  • Don't Show a Hyena How Well You Can Bite
    Don’t Show A Hyena How Well You Can Bite: Performance, Race and the Animal Subaltern in Eastern Africa by Joshua Drew Montgomery Williams A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Catherine Cole, Chair Professor Donna Jones Professor Samera Esmeir Professor Brandi Wilkins Catanese Spring 2017 Abstract Don’t Show A Hyena How Well You Can Bite: Performance, Race and the Animal Subaltern in Eastern Africa by Joshua Drew Montgomery Williams Doctor of Philosophy in Performance Studies Designated Emphasis in Critical Theory University of California, Berkeley Professor Catherine Cole, Chair This dissertation explores the mutual imbrication of race and animality in Kenyan and Tanzanian politics and performance from the 1910s through to the 1990s. It is a cultural history of the non- human under conditions of colonial governmentality and its afterlives. I argue that animal bodies, both actual and figural, were central to the cultural and political project of British colonialism in Africa – and in particular eastern Africa, which continues to be imagined in many circles as both “safari country” and the “cradle of humankind.” I build on extensive archival research to suggest that artistic and scientific activity in colonial Kenya, from the amateur and professional theatre to the natural-historical research conducted at the Coryndon Memorial Museum, helped to define a category of sub-political being that I call “the animal subaltern.” The animal subaltern is a concatenation of all forms of animal life lived below the horizon of “the human.” During the colonial period, this included the wildlife of eastern Africa, the pre-human hominids whose fossilized remains paleoanthropologists like Louis Leakey unearthed, and “natives,” whose political subjectivity the colonial state was determined to suppress.
    [Show full text]
  • African Theatre and the Colonial Legacy: Review of the East African Scene
    The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. African Theatre And The Colonial Legacy: Review Of The East African Scene Tololwa Marti Mullet* Generally speaking, the young African's first intimation of theatre was at the mission school where simple Christian reiigious stories were dramatised and European folksongs and nursery rhymes recited in what were called,'concerts' ....in secondary schools we staged plays which were set books for languages and literature studies... It should be noted that the African child knew nothing of the current trends in Western theatre, so his idea of the theatre was that of medieval and Elizabethan Europe.' Most African countries have, since independence, adopted a critical stand towards the cultural legacies left behind by the former colonisers. This stand has resulted from the political and cultural nationalism that ushered in flag independence in Africa, a development that constitutes a revolutionary force not only in the politics of liberation but also in the realm of art.2 In the theatre the growth of cultural nationalism within the womb of an anti-colonial political nationalism has inspired attempts to displace the theatre imported with colonialism and encouraged, through colonial policies and ideology, a theatre that consisted of a dramatic mishmash from Victorian England, an alien importation that could only be "...accepted by those who have passed through the western-oriented educational system,..
    [Show full text]
  • Gabriel Ruhumbika: Janga Sugu La Wazawa (2002)
    SWAHILI FORUM 12 (2005): 81-93 GABRIEL RUHUMBIKA: JANGA SUGU LA WAZAWA (2002). UCHAMBUZI NA UHAKIKI JOHN P. MBONDE 1. Utangulizi: Mwandishi na Uandishi wake Gabriel Ruhumbika aliyezaliwa mwaka 1938 kisiwani Ukerewe ni miongoni mwa wanafashihi waliokubuhu katika fani ya riwaya za Kiswahili. Riwaya yake nyingine ni ile miongoni mwa vitabu teule (1997-2001) kwa ajili ya kutahinia wanafunzi wa shule za sekon- dari kidato cha sita iitwayo Miradi Bubu ya Wazalendo (1992). Vitabu vingine alivyopata kuandika ni pamoja na Uwike Usiwike Kutakucha (mkusanyiko wa hadithi fupi; 1978) 1; Af- rika Inakwenda Kombo (tafsiri; 1976); Viumbe Waliolaaniwa (tafsiri; 1978). Pia ametoa mku- sanyiko wa hadithi fupi za wanafunzi wake uitwao Parapanda (1974) 2, na mkusanyiko wa insha za kisiasa (1974). Aidha, ameandika riwaya moja kwa lugha ya Kiingereza iitwayo Vil- lage in Uhuru (1969). Sasa ametuletea riwaya hii ya aina yake Janga Sugu la Wazawa (2002). Kufuatana na habari tulizo nazo, Gabriel Ruhumbika alipata shahada ya kwanza (B.A.Hons. English ) ya Chuo Kikuu cha London mwaka 1964 kama mwanafunzi wa nje wa Chuo Kikuu cha Makerere, Uganda. Halafu akasoma katika Chuo Kikuu cha Sorbonne, Paris, Ufaransa, na kupata shahada ya tatu (Ph.D.) mwaka 1969. Alikuwa mhadhiri na profesa wa fasihi katika Idara ya Fasihi ya Chuo Kikuu cha Dar es Salaam kwa muda wa miaka kumi na mitano (1970-1985). Halafu alikwenda Marekani na kufundisha katika Chuo Kikuu cha Hampton, Virginia, akiwa profesa wa Kiingereza (1985-1992). Kuanzia mwezi Septemba mwaka 1992 amekuwa Profesa wa Fasihi Linganishi (Comparative Literature ) katika Chuo Kikuu cha Georgia mjini Athens, Marekani. Aidha, amepata kutembelea na kutoa mihadhara kwenye vyuo mbalimbali nchini Marekani na barani Ulaya.
    [Show full text]