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By Wa Thiong'o Ngugi

Ngugi describes this booklet as 'a precis of a few of the problems during which i've been passionately concerned for the final two decades of my perform in fiction, theatre, feedback and in educating of literature. North the USA: Heinemann; Kenya: EAEP

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Central to all these varieties of dramatic expression wer e songs, dance and occasional mime! Drama in pre-colonial Kenya was not, then, an isolated event: it was part and parcel of the rhythm of daily and seasonal life of the community. It was an-activity among- other activities, often drawing its energy from those tether activities. It was also entertainment an ,the sense of involved enjoyment; it was moral instruction; and it was also a strict matter of life and death and communal survival. This drama was not performed in special buildings set aside for the purpose.

Slavery is in and for itself injustice, for the essence of humanity is freedom; but for this man must be matured. ' (Hegel The Philosophy of History, Dover edition, New York: 1956, pp. ) Hegel clearly reveals himself as the nineteenth -century Hitler of the intellect. The paper is now in Akivaga and Gachukiah's The Teaching of African Literature in Schools, published by Kenya Literature Bureau. ' Here is the whole passage in French. See how lyrical Senghor becomes as he talks of his encounter with French language and French literature.

In the introduction to Morning Yet on Creation Day Achebe obviously takes a slightly more critical stance from his 1964 position. The phrase is apt for a whole generation of Cs African writers. Transition No. 10, September 1%3, reprinted from Dialogue, Paris. Chinua Achebe `The African Writer and the English Language', in Morning Yet on Creation Day. Gabriel Okara, Transition No. 10, September 1%3. Cheikh Hamidou Kane L ,venture Ambigui. (English translation: Ambiguous Adventure). This page was translated for me by Bathir Diagne.

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