Nugugi wa Thiong’o was not just a writer, he was hard -line Arts and Culture

I love Ngugi Wa Thiong’o Dance. He loved her more than anything else – even more than writing. In his eighties, his body slowed down due to the increasing disruption of kidney failure, and NGGI was getting up and began to dance only to think about music, and do not care about her voice. The rhythm through his feet in the way the words flowed through his hands and on the page.

This is how I will always remember NGGI – dance. He died on May 28 at the age of 87, and left behind only a literary heritage that deserves Nobel, but rather a mixture of very innovative crafts and original criticism that calls with joy to do better and pay more powerful-book, activists, and activists, against the colonial foundations that maintain all our societies. For me, it prompted me to go to the deepest river to the Kakuma refugee camp, where I made the free bond of many tongues and colloquial cultures of freedom to think and speak “from the heart” – which always describes as the greatest gift of writing.

NGGI was always a tenant in the African literary ecclesiastical and preferred Nobel perennial by the time I met for the first time in 2005. Knowing it, soon it became clear to me that his writing was inseparable from his education, which in turn was related to his political obligations and long service as one of the most general ideas in Africa.

Naguji’s cheerful, his smile and their deep anger, hidden, reflecting the scars of violence on his body and soul as a child, young man, and an adult victim by successive and intertwined systems of criminals.

His brother was killed by the deaf, who was killed by the British because he had not heard and obeyed the orders of the soldiers to stop at a checkpoint, and Mao Mao rebelled, who divided his other brothers on the two sides opposing the colonial regime during the last decade of British rule, and in the basic reality of violence and division as royalty twice from permanent heaven even after the interrupted independence.

After more than half a century of these events, none of Nugugi anger will not cause more than a transition from British rule to Kenyan rule, and the fact that colonialism was not left with the British, but rather dug some extent with the new Kenyan rulers in Kenya.

When he became a writer and theatrical writer, NGOGI also became a hard -line, devoted to the use of the language to re -communicate the complex African identities – local, tribal, national and global – that the “cultural bomb” of British rule has “cast” over the past seven decades.

After his first play, the black hermit, which was first shown in Kampala in 1962, was declared with a speed of “talking about the continent.” Two years later, his first novel and first English novel in East Africa appeared.

When he ascended to the lead, Nugi decided to give up the English language and start writing in his gikuyu hometown.

(Re -resorting to his native language led to changing the path not only in his career, but from his life, because his ability to criticize his post -colonial rule to reach his citizens in their own language (instead of the English or national language in Swahiliya) was too much for the new rulers in Kenya to tolerance, and thus it was recorded for a year in 1977.

What Nagogi realized when writing began in Jikuyu, and more than that in prison, was the truth of the new colonialism as the basic mechanism of rule after colonialism. This criterion was not the “new normative” used by anti-colonial activists to describe the ongoing authority of the former colonial rulers by other means after official independence, but rather by relying on those wishing to colonial techniques and letters suffering from the ruling by newly independent judges, and they are many of them- such as Jumo Kenyatta, such as Naguji.

Thus, the end of real colonialism can only occur when people’s minds were free from foreign control, which first requires the freedom to write in the mother tongue.

Although it is rarely recognized, the NGGI concept of the new smoothness, which condemns a lot, is explained regularly, of KWAME NKRUMAH’s and other African intellectuals anti -colonial intellectuals, and “productivity” that turned almost the generation.

In fact, NGOGI has long been developed with Edward, said Homi Bhabha and Gayatri Chakravorty Spivak as the founding generation of thought and criticism after colonialism. But he said, who was frequently discussing it as the brother of the weapons and his colleague, who admires the Polish writer Joseph ConradParticipate in the comprehensive focus on the language on the language, even as it was often written in the English language instead of the Arabic language.

For Sail and NGOGI, colonialism has not yet passed, but it was still a continuous reality, conflict and violence – for the previous one through the most violent settlement and brown colonialism, through violence from successive governments.

NGGI saw his link with his joint experience that originated under British rule. As he explained in his speech after his recent publication Egyptian prison writings selections Since 2011, “the performance of power has been pivotal in the colonial culture of silence and fear”, disrupting that authority and ending silence can come first through language.

Because he said, the vortex of Arabic and English in his mind since childhood created what he called.Primitive instability“One of them could completely calm down when he was in Palestine, who returned to him several times in the past decade of his life. For Najji, even when Jikio enabled him to” imagine another world, a journey to freedom, like a bird that he saw from the (prison) window “, was unable to return to the last homeland in recent years.

However, from his home in Orange County, California in the United States, he will never get tired of urging younger students and colleagues to “seriously write”, to use the language to resist any repressive arrangement they found themselves. The bird always says, if you can write without fear.

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