Historicizing Orature: Ngũgĩ wa Thiong’o’s Popular Theatre in I Will Marry When I Want
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The study of Ngũgĩ wa Thiong’o’s theatrical works begins with looking at how he adjusts regional languages to create major literary works written both in English and in his mother tongue. Gĩkũyũ is the main medium of his presentation of orature, serving as the theatrical language of popular Kenyan theatre. The way the playwright represents Africa’s image of a creative venue of traditional art and contemporary politics is noteworthy in that oral performance conjures a dread of the imagination and the desires of the masses under colonialism. Oral literature, or orature in this essay, functions as a ritual of communal gathering, honoring a proud history of guerilla warfare against colonial rulers. The language of theatre, both in a literal and figurative sense, offers the ground for the common people in plantation farms and factories, restoring the potency and potential of people to gain knowledge of world‐building. Working with community members of Kamĩrĩĩthũ, a town away from Nairobi, the writer and his colleagues seek to establish authoritative voices against the repression and denial of the (neo)colonial nation‐state. Ngũgĩ strives to invent a theatre of the oppressed, where subalterns develop an audible and visible form of popular theatre in terms of the language, the performative medium, and the audience.
Abstract
The study of Ngũgĩ wa Thiong’o’s theatrical works begins with looking at how he adjusts regional languages to create major literary works written both in English and in his mother tongue. Gĩkũyũ is the main medium of his presentation of orature, serving as the theatrical language of popular Kenyan theatre. The way the playwright represents Africa’s image of a creative venue of traditional art and contemporary politics is noteworthy in that oral performance conjures a dread of the imagination and the desires of the masses under colonialism. Oral literature, or orature in this essay, functions as a ritual of communal gathering, honoring a proud history of guerilla warfare against colonial rulers. The language of theatre, both in a literal and figurative sense, offers the ground for the common people in plantation farms and factories, restoring the potency and potential of people to gain knowledge of world‐building. Working with community members of Kamĩrĩĩthũ, a town away from Nairobi, the writer and his colleagues seek to establish authoritative voices against the repression and denial of the (neo)colonial nation‐state. Ngũgĩ strives to invent a theatre of the oppressed, where subalterns develop an audible and visible form of popular theatre in terms of the language, the performative medium, and the audience.
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