The Trial of Dedan Kimathi by Ngugi wa Thiong'o
"The Trial of Dedan Kimathi" is a play authored by Ngugi wa Thiong'o in collaboration with Micere Githae-Mugo, which seeks to reframe the historical narrative surrounding the Mau Mau movement and its leader, Dedan Kimathi. Set against the backdrop of Kenya's struggle for independence from colonial rule, the play presents Kimathi not as the deranged figure often portrayed in colonial literature, but as a symbol of courage and commitment, deeply respected by the Kenyan people, particularly peasants and laborers. Captured and tried in 1956, Kimathi's story unfolds through a series of thematically linked episodes rather than a conventional dramatic structure. The play intersperses courtroom scenes with depictions of significant historical moments in Kenya’s past, illustrating the broader context of oppression faced by the people. It also incorporates elements of Kenyan culture, such as Gikuyu songs and dances, enriching the narrative. Ultimately, the work serves as an attempt to challenge and rewrite historical misconceptions, fostering a sense of national identity and resilience against colonial legacies. This perspective invites readers to explore the complexities of Kenya’s fight for independence and the cultural significance of its historical figures.
The Trial of Dedan Kimathi by Ngugi wa Thiong'o
Excerpted from an article in Magill’s Survey of World Literature, Revised Edition
First produced: 1974 (first published, 1976)
Type of work: Play
The Work
The Trial of Dedan Kimathi, written in collaboration with Micere Githae-Mugo, is Ngugi’s response to colonialist writings about the Mau-Mau movement, which traditionally depicted the movement and its leader, Dedan Kimathi, as mentally unbalanced and vicious. Ngugi and his collaborator choose to counter this image with a portrait of Kimathi as a man of great courage and commitment. This was how he was seen by many of the peasants and laborers of Kenya.
Kimathi was captured and put on trial in 1956. The two playwrights make no attempt to re-create the trial realistically. In place of a tightly woven dramatic narrative, the plot consists of disparate but thematically connected episodes. The scenes in the courtroom are interspersed with others that depict episodes from Kenyan history of the preceding two hundred years, scenes of Kenyan people attempting to help Kimathi escape, scenes of Kimathi’s interactions with guerrillas, scenes of Kimathi in prison, and scenes of his torture. The play includes Gikuyu songs and dances, and even mime. Ngugi’s portrayal of the Mau-Mau movement, ambivalent in other works, is less so here.
In this play Ngugi looks back at history in an effort to revise it and to expunge deliberately propagated falsehoods. In this way, he attempts to help his country cast off its legacy of oppression.
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