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NGUGI WA THIONG’O AND KENYAN THEATRE IN FOCUS

A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF ARTS IN PERFORMING ARTS

OF

THE UNIVERSITY OF NAMIBIA

BY

S.A. VAN DER SMIT

OCTOBER 2007

SUPERVISOR: PROF. ALDO BEHRENS ii

ABSTRACT

Ngugi wa Thiong’o is known throughout the world for his writing of novels, e.g. (1977) and critical essays, e.g. Delolonising the Mind (1994). With the writing of The Trail of (1977), in collaboration with Micere Mugo, he became known as a playwright as well. The two community plays, I Will Marry When I Want

(1982) and Mother, Sing for Me, brought focus to indigenous Kenyan theatre. They were created and performed by the Kamiriithu-villagers in the theatre they have built themselves, until they were stopped by the government. The provocative I Will Marry

When I Want was the cause of Ngugi’s detainment by the Kenyan government. Ngugi used the theatre as a platform for his cultural, social and political utterances in his quest to change the society.

Very little was written about Ngugi’s plays. This research intends to study the available sources and his plays carefully to formulate an overall view of the importance of this genre of Ngugi. The content, themes, characters and the indigenous cultural expressions, e.g. songs, dances and mimes will be analysed. As the community and audience involvement played a huge role in Ngugi’s theatre process and performances, they will receive prominent attention.

This research project will to investigate the observations of other scholars on African theatre, as well as the different styles of theatre practiced by Ngugi. The research will iii

investigate the recurrent themes and explore the influence Ngugi had on the theatre of

Kenya. As an activist he propagated a strong message that the masses should unite against the oppression and exploitation by the ruling regime. iv

TABLE OF CONTENTS

Acknowledgements

Dedication

Declarations

Introduction

CHAPTER 1: NGUGI WA THIONG’O – AFRICAN PLAYWRIGHT 4

1.1 A historical overview of his life 4

1.2 A change of name 26

1.3 The issue of language 28

1.4 Influences on Ngugi wa Thiong’o 38

1.4.1 Influences on his writing 38

1.4.2 Influences on his theatre practices 48 v

1.5 About his writings 63

1.6 About his co-writers 66

1.6.1 Micere Githae Mugo 67

1.6.2 Ngugi wa Mirii 73

1.7 Kamiriithu Community Educational and Cultural Centre 77

1.8 Detention and exile do not stifle a strong voice 97

CHAPTER 2: NGUGI WA THIONG’O AND THEATRE 104

2.1 What is theatre? 104

2.2 African Theatre 107

2.2.1 Pre-colonial period 109

2.2.2 Colonial period 113

2.2.3 Post-independence period 125

2.2.4. East African theatre 133

2.2.5. Kenyan theatre 136 vi

2.3 Theatre as Ngugi’s weapons in the struggle 150

2.3.1 Development theatre 151

2.3.2 Popular theatre 159

2.3.3 People’s theatre 164

2.3.4 Political theatre 167

2.3.5 Protest theatre 172

2.4 Ngugi wa Thiong’o as theatre practitioner 173

CHAPTER 3: NGUGI WA THIONG’O’S PLAYS 185

3.1 Content 189

3.1.1 The Black Hermit 189

3.1.2 This Time Tomorrow 193

3.1.3 The Wound in the Heart 195

3.1.4 The Rebels 196

3.1.5 The Trail of Dedan Kimathi 197

3.1.6 I Will Marry When I Want 199

3.1.7 Mother, Sing for Me 203

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3.2 Structure 206

3.3 Themes 207

3.4 Plots 235

3.5 Characters 236

3.6 Dialogue, songs, dances, mimes, slides, flashbacks and usage of the Bible 255

3.7 Milieu 271

3.8 Stage-ability 284

3.9 Community and audience involvement 286

Conclusion 297

References 301

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