Kenya: Ngugi -- popular voice silenced

Ngugi- popular voice silenced KENYA 12 This article was first publiched in the Mirch is ue of the ASU bulletin. It is reprinted with the permission of the ruthor. On the last day of 1977, Ngugi Wa Thiong'o - well known writer and playand author of Petals of Blood wright was arrested at his home in Limuru in Kenya. In the early morning raid, the police seized over a hundred books from Ngugi's library, and dragged him to Kiambu Police Station. No grounds were given for the arrest at the time. It was not until Jan 6th, one week after Ngugi's arrest, that a detention order was issued under the Detained and Restricted persons Regulation of 1966 which explained that Ngugi was a "public security risk". The arrest of Ngugi marked yet another attempt by the Kenyan government to clamp down on all articulated opposition to its pro-imperialist policies. weeks previous to Ngugi's arrest, Oginga Odinge - founder of the banned Kenya Peoples Union - was arrested folowing a speech he made on the question of land distribution in Kenya: he pointed out that the land reforms which have been popularly demanded since colonial rule have not been carried out. Odinga has since been released. But Ngugi remains under detention without trial, without access to lawyers, without the right to visits, and faces continued detention for at least six months when his case comes 'under review' again. So in fact his detention is indefinite. Why arrest Ngugi? Why does the Kenyatta regime consider him to be a "public security risk"? Io answer these questions we must look at Ngugi's background. NGUGI WA THIONG'O Born in Limuru, Kenya in 1938, Ngugi graduated at Makerere University (Ug- While still a student he edited a journal called 'Penpoint'. The journal encourao d contributions from the many whose confidence to write and discuss had been suppressed by imperialist ideolgy and colonial education, and was a centre for debate and discussion not only on literature, but on all aspects of political and socia? life in Africa. In 1964, while working for the Daily Nation newspaper in Kenya, his first novel weep not Child was published, and for this work he was awarded the special prize at the Festival of Negro Arts in The novel showed Nguigi's trem- Dakar. endous sensitivity to Kenya under colonialism writtem in a 'contemplative and poetic prose style'. A theme emerg-. ed in this novel which was constantly developed in later books: political and cultural conflicts between colonialism, the church, christianity, and the African. It was while he was in Leeds that his second novel The River Between was published (1965). A Grain of Wheat fo11owed in 1967. It was in Leeds that he began to grapple with the whole question of 'cultural imperialism' and the issues raised by the then growing Black Power movement in the USA and Britain. The writings of George Lamming, Chinua Achebe, Cyprien Ikwensi and certain West Indian writers began to have a profound influence on his ideas and writings. In 1957 he returned to Nairobi Lecturer at the University College and edited a journal called Zuka. While there, he actively participated in the debates of the emerging student movement, and was in the forefront of encouraging expression - both artistic and politicalamongst students. His first real clash with the Kenyatta regime came in 1969: the regime sent in armed police to smash up a student demonstration at the campus which was called to protest against the banning of a student meeting to which Oginga Odinga had been invited. Ngugi was in the forefront in protesting against this repression, and continued, together with other academics, to publicly protest against the numerous occasions on which police carried out student activities. On many issues Ngugi was not afraid to make known his He became well known for his views. ardent opposition to 'cultural imperialism,' political pen Un his return to Kenya in 1972 after a two-year stay in the USA, he again addressed himself to the politics of Kenyathis time not so much on the colonial past but much more on the relations between thé colonial past and the neo-colonial pres- "History is very important to any people. How we look at our past is very important in determining how we look at and evaluate the present. A distorted view of a people's past can very easily distort our views and evaluation of the present as well as the evaluation of our present potentials and future possibilities as a people, Our history up to now has been distorted by the cultural needs of imperialism...It (history) is important because we are still not yet free of imperialist domination and exploitation. The Kenyan people must know their history in order to face up to the challenge of imperialism". the 'authorities'. ions furtber. as a consciousness. character) he can see African repression of developments. * Resolutions, Britain and Ireland Continental Europe Name.. Address.. 13 His work began to grapple with the way in which the struggles of workers and peasants were directly in conflict with The play which he wrote together with Mugo Micere 'The Trial. Of Dedan Kimathi, began to address itself to this question within the con- The pubtext of the colonial period. lication of his nost recent novel Petals of blood - developed these quest- "I am more interested in their development from the stage of black cultur-. al nationalism to the stage of class From the stage when (a sees oppression in terms of culture alone, to the stage when he car see oppression and exploitation as being From a stage where societies as differentiated betweeen the peasantry and the workers on the one hand, and imperialism and its allies on the other". The book Petals of Blood was launched in July 1977, ironically by Mwai Kibake, Minister of Finance in Kenya. "In the novel I show imperialism as a monster preeventing all our authentic Intercontinental Press is the new united weekly reflecting the revolutionary Marxist views of the Fourth International. It includes: * Weekly in-depth reporting and analysis of the major world documents, declarations and articles of the sections of the Fourth International and its leading committees as well as other revolutionary organisations. * Important documents and interviews - most not available Forthcoming issues will also feature a public discussion on the recent Fourth International theses on 'Socialist Democracy and the Dictatorship of the Proletariat'. The journal is printed in New York and airfreighted to London for more rapid distribution to subscribers in Europe. Rates in Europe are as follows: Introductory offer 6 menths 1 year 10 issues 24 issues 48 issues £2.50 £5.00 £9.00 • £4.00 £8.00 £13.00 Continental Europe (air) £11.00 £19.00 DON'T MISS A SINGLE ISSUE. SUBSCRIBE NOW! Please send me :.. issues for which i enclose £.... All cheques/POs should be made payable to 'Intercontinental Press' and sent to intercontinental Press/Inprecor, P.O. Box 50, London N1 2XP, England. For subscription rates outside Europe please write to: Intercontinental Press/Inprecor, P.O Box 116, Varrick Street Station, New York, N.Y. 10014, USA 14 Kenyan flowers from reaching out into the light". This book is perhaps the most articulate critique from the left yet written in Kenya about the nature of neo-colonialism and the incumbent regime of Kenyatta, yet written in the form of a fictitious novel. The book has been hugely successful inter- In Kenya alone it sold over nationally. 10,000 copies. Ngugi has not been afraid to spell out his criticisms openly: "I have no such fears because I do believe that criticism of our social institutions and structures is a very healthy thing. If writers don't do this anywhere in the world, they would be failing in their duties". But Ngugi has constantly fought with the problems of making his works available He felt that his writing to the masses. in English was itself a reflection of cultural imperialism. In both the Irial of Dedan Kimathi and in Petals of Blood, he continually uses African languages in particular Swahili and Kikuyu and the anti-British imperialism songs of the past as well as those about Mau Mau. "I think a people should express their national aspirations and their national bistory in various national languages of Kenya... Our national languages are international and national to the extent that they are able to stress the aspir ations of the vast majority of not only the Kenyan people but also of peoples all over the world". do so, Ngugi Wa Thiong'o In order to Ngugi Wa Mirii in collaborated with writing and producing a play in Kikuyu called Neahika Ndenda (I will marry when I want to) which was produced in a small town outside Nairobi called They were determined to Kamiritbu, smash the "myth that Africans do not like to go to the theatre". To an extent - given the huge attendance and participation - they were able to do this. But this was too much for the regime: immediately the play was banned - and shortly afterwards Ngugi Wa Thiong'o was arrested. release Ngugi now! Democratic rights in Kenya are extremely limited. The right to strike, the right to political expression, the right of to form political free speech, the right organisations are non-existent. The arrest of Ngugi consitutes a further attack on already restricted democratic rights. Students at Nairobi University attempted to call a boycott of lectures in protest against Nugi's arrest, and in spite of distributing many leaflets, have been unable to take this initiative: but this is because many of them live in fear of the ferocious attacks by the police - something they too have often exp- It is therefore crucial that erienced. their inability to take initiatives is compensated for by the development of a mass campaign internationally to effect Ngugi's release. We must at the same time defend all those whose rights are attacked by the Kenya Included in any campaign government. must be the call for the release of all political prisoners in Kenya. But Ngugi's position is also special. He has openly come out and showed himself to be on the side of workers and poor peasants, defending the struggles of Afr ican students, and against imperialism He has risked and their allies in Kenya. much to place himself on the side of the oppressed... How much are we prepared to risk for his release? The African Students Union (UK)has already expressed itssolidarity with the campaign to release Ngugi, and in London has joined forces with the Pan Africanist Association of Writers and Journalists (PWJ) to mount a campaign in Britain demanding the release of Nougi Wa Thiong'e. It is urgent that whenever possible local initiatives are taken to build this camp-. A petition is being circulated at aign. present which is available from the adaress below. Submit resolutions to your Society/ Union / Trade Union branch to demand the immediate release of Ngugi: send copies of these resolutions to the Defence Committee. RELEASE NGUGI WA THIONG'O NOW! Release all political prisoners! E, H. (Kenyan student) For further details and information: Write to: Ngugi Defence Committee c/0 28/29 Southampton St., London WC2