Analyse the perspectives on colonial experience in Thomas Iguh’s The Last Days of Lumumba; Ene Henshaw’s Children of the Goddess; Sarif Easmon’s Dear Parent and Ogre; Soyinka’s Death and the King’s Horseman; Ngugi’s I Will Marry When I Want.
African literature responds in varied ways to the political, cultural requirements of the African people. The major concern of African writers was to explore the consequences of colonial rule. African theatre attempts to resolves what was beneficial and what was unsuccessful from colonial governance in their years in control. However, different writers hold different perspectives towards colonial experience. This essay will analyse the perspectives on colonial experience in Sarif Easmon’s Dear Parent and Ogre, Soyinka’s, Death and the King’s Horseman, and Ngugi’s, I Will Marry When I Want. This essay will also investigate how African plays records writer’s opinions on negative and positive outcomes of postcolonial governments. “With respect to colonial period and experience, African writers want to assist people in getting back what they had lost as a result of years of colonial authority. This includes assessing all facets of economic, social, religious and political with the main intent of rebuilding African communities and nations to allow people to assert and regain a sense of collective and individual dignity.”quote Each African author employed different standpoint and views towards the colonial experience. “The other major concern of writers is to scrutinize the abuses and achievement of postcolonial African governments”
“Ngugi’s, I will Marry When I Want. Ngugi is a leading writer in East Africa whose dramatic writing in collaboration with Micere Mugo and Ngugi Wa Mirii contain satiric, acidic impulses. I will Marry When I Want hold more revolutionary tendencies, and in this play, Ngugi uncovers satirically the poverty, suffering and exploitations that people experienced in the face of capitalism and neo-colonialism in Kenya.” The main theme is neocolonial and anti-colonial nationalisms in the history of Kenya. Ngugi draws attention to the occurrence of neocolonialism and how it spread misery.’ I Will Marry When I Want’ is a parody on religion, is humorous on the subject of love and a contemptuous political attack. “This renowned play was so powerful that it caused the imprisonment of the Ngugi without trial. Through the play, Ngugi illustrated the miserable poverty that common Kenyans experienced, notwithstanding their freedom from colonial rule. It also highlights the changes of the Kenyan government to deliver independence to its people. According to Ngugi, ‘every literature author is a writer in politics’ and there is no political impartiality in literature. Ngugi views the African struggle as an altercation amid foreign and local capitalists. In his view, Ngugi deems that in the African struggle for independence, innovative writers cannot stand by absentmindedly, but instead must involve themselves in the struggle.” The important themes of a wide body of literature are extensive to political, economic and social struggles. Ngugi insists African writers must assist in bringing about novel social order for the people. “In general, I Will Marry When I Want illustrates a theatrical conflict pinched along dogmatic lines, pitting exploiters in opposition to the exploited, or rulers in opposition to the ruled. Ngugi’s play, I Will Marry When I Want is marked through a high content of politics and the author tries to work against the exploited, but instead favors the exploited masses.” He gives political teachings to the oppressed people and provides them with a sense of leaderships concerning changing their society. Ngugi, a Marxist, demonstrates insidious Marxist concepts. He is also a Socialist who provides a socialist view of the society. Ngugi confirms that he demonstrates a Marxist devoutness, which is the agenda on which the foundation of his writings. “The core...
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