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Banning theatrical performances retrogressive
Ahab Kioi (Hamprey Maina, in the grey suit) and his wife Jesebel (Angel Waruinge) sit as Hellen (Diana Wamaitha) prays in a scene during the staging of Ngugi wa Miiri and Ngugi wa Thiong’o’s play ‘I Will Marry When I Want/Ngaahika Ndeenda’ at Kenya National Theatre on October, 10 2022. Ndugire (Duncan Murunyu) and Hellen’s husband are in the background as Kigunda (Bilal Mwaura) and Wangeci (Nice Githinji) are perplexed by all the prayers. PHOTO | POOL
A theatrical performance, whether music, play or dance, is nothing but an expression and reflection of what happens in the society. Since time immemorial, human beings have staged performances to celebrate achievements, worship, entertain and educate, among others. In the same breath, they have been staged to voice dissatisfaction, protest bad trends and correct.
So, what is the purpose of theatrical performances? The best answer is that, as part of literature, such works are a mirror reflecting the society lives. But sometimes, when one looks in the mirror, they might not like what they see. This is self-denial that often leads to the banning of certain performances.
In Kenya, this history of self-denial can be traced back to 1977, when government operatives were uncomfortable with local theatre performances based on Ngugi wa Thiong’o and Ngugi wa Mirii’s play Ngaahika Ndeenda (I will Marry when I want).
The play brought to the fore the suffering of the Mau Mau heroes despite their sacrifices, while the collaborators inherited all the good things. The playwrights were arrested and detained in December 1977.
First forward in 2013, a play by Cleophas Malala, Shackles of Doom, staged by Butere Girls High School, was banned. It was rescued through a judicial order. The play was blunt in addressing the uncomfortable topics of ethnicity and the skewed distribution of resources in Kenya. Ethnicity is a glaring social issue in Kenya that we must face and confront.
This year, Mr Malala penned Echoes of War, which explores issues such as modernity, technology and governance. The play imagines a nation recovering from a civil war, with youth at the forefront of rebuilding efforts, fighting for better healthcare, education and justice systems while tackling the challenges of technology.
These are issues bedevilling Kenya; the best thing to do is to address the issues instead of curtailing the freedom of expression and the reality as most Kenyans see it.
It is therefore futile to appear to be “tirelessly” working for the masses but when the truth is packaged in a play, the political class and those who are opposed to criticism rush to crush rights guaranteed by the constitution.
Let’s appreciate theatrical performances; they mirror the reality we live in.
Lucas Kimanthi
