Day: September 14, 2024

Introduction: “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

“The Commitment of the Intellectual” by Ngugi wa Thiong’o was originally published in the Review of African Political Economy in 1985. This influential work delves into the multifaceted role of intellectuals in fostering social progress and examines the intricate interplay between intellectual endeavors and political engagement.

Summary of “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

1. Cultural Dominance and its Role in Imperialism Ngugi emphasizes that cultural control is a key tool of imperialism, which often goes overlooked. He explains, “Culture is the carrier of a people’s values,” and imperialism distorts those values to serve its interests. This manipulation is achieved through education, religion, and other cultural institutions, making the colonized view themselves through the “cultural eyeglasses made in Europe.”
2. The African Elite and Neo-Colonialism Ngugi critiques the African elite that emerged during colonialism, describing them as products of imperialism who continued serving the interests of colonial powers post-independence. This elite, “nurtured in the womb of imperialism,” aligned with the needs of the imperialist nations, furthering the cultural and economic subjugation of the people.
3. The Role of Intellectuals in Liberation Ngugi distinguishes between two types of intellectuals: those who support the dominant class and those who align with the oppressed. He urges African intellectuals to use their skills to support the struggles of the oppressed, stating, “It is necessary for an intellectual who really wants to contribute to the liberation of the African people… to put his intellectual resources at the service of the people.”
4. Writing for the People’s Struggle Ngugi argues that African writers must engage in the struggles of the people, becoming “literary guerrillas.” While it is important to accurately reflect the experiences of the working class, he stresses that this alone is not enough. Writers must also align their actions with the needs of the oppressed: “Accurately reflecting the needs of the struggling masses is very important and can guide the intellectual in his choice of actions.”
5. Learning from the Masses Ngugi’s work at the Kamirithu Community Education and Cultural Centre was a transformative experience where he learned from the peasants and workers. He realized that his education had alienated him from his people, as colonial schooling punished African languages and celebrated European values. Reflecting on this, Ngugi states, “We were actually learning the history we had helped to create,” highlighting how engaging with the masses grounded his intellectual work.
6. Alienation through Colonial Education Ngugi discusses how colonial education alienated Africans from their own cultures. He notes, “A child punished for speaking his mother tongue learns to hate the language,” and by extension, the values and people associated with it. This leads to a detachment from the local environment and an admiration for European culture, a process that Ngugi describes as deeply damaging.
7. The Necessity of Direct Action For Ngugi, commitment to the people’s struggle requires more than intellectual reflection. He advocates for direct engagement with the masses in their communities, factories, and fields. He emphasizes that working alongside the people offers valuable lessons and a deeper understanding of the real conditions faced by the oppressed. Ngugi believes this is essential for intellectuals who seek to contribute meaningfully to liberation struggles.
8. Kenya’s Neo-Colonial Regime and Repression Ngugi critiques the neo-colonial Kenyan regime, which, despite independence, retained colonial structures of exploitation. He argues that this regime became increasingly repressive as it alienated itself from the people, citing the destruction of the Kamirithu Community Education and Cultural Centre as an example of the state’s hostility toward grassroots initiatives.
9. Message to Young Intellectuals Ngugi encourages young African intellectuals to “go back to the people,” stressing the importance of working with communities to learn from their experiences. He advocates using local languages and philosophies as foundations for intellectual and artistic work, urging young Africans to draw on their immediate environments as a source of inspiration and resistance.

Literary Terms/Concepts in “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Contribution of “The Commitment Of The Intellectual” by Ngugi wa Thiong’o to Literary Theory/Theories

• Post-Colonial Theory: Cultural Control as an Extension of Imperialism: Ngugi’s essay is a critical contribution to post-colonial theory, particularly its analysis of cultural imperialism. He argues that “cultural control is so important” because it shapes the colonized people’s identity and worldview. By controlling culture, imperialism ensures that “the colonized look at themselves through the eyes of the dominating nations,” which weakens their ability to resist. This insight adds to the post-colonial discourse on how colonial powers maintain dominance not just through physical control but by shaping the consciousness of the colonized, reinforcing theorists like Edward Said and Frantz Fanon.
• Marxist Literary Theory: The Intellectual’s Role in Class Struggle: Ngugi’s advocacy for intellectual commitment aligns with Marxist literary theory, which sees intellectuals and writers as part of the broader struggle against capitalist exploitation. Ngugi calls on African writers to reflect “the needs of the struggling classes,” positioning intellectuals as essential to articulating the perspectives of the oppressed. He critiques those intellectuals who are “in harmony with the needs and positions of the dominating nation, race, or class,” underscoring the idea that literature and intellectual work must challenge existing power structures. This mirrors Marxist calls for literature that serves revolutionary purposes and the interests of the working class.
• Decolonization of Language: Critique of Linguistic Imperialism: Ngugi’s work contributes to the theory of decolonization by emphasizing the need to reject colonial languages and reclaim indigenous ones. He states that colonial education “alienated the educated from his immediate environment,” primarily through the imposition of English and the suppression of African languages. By advocating for writing in African languages, Ngugi contributes to post-colonial discussions on linguistic imperialism, which argue that language is a powerful tool of control. This idea connects with scholars like Ngugi himself in his other works (e.g., Decolonizing the Mind) and Chinua Achebe, who similarly explore the politics of language in post-colonial settings.
• Pedagogy of the Oppressed: Learning from the Masses: Ngugi’s work reflects Paulo Freire’s Pedagogy of the Oppressed in its emphasis on learning from the people rather than imposing knowledge on them. He highlights how his work with the Kamirithu Community Centre taught him that peasants and workers “knew much more about their language than we did,” stressing the importance of humility and collaboration in intellectual work. This contribution supports the idea that intellectuals should engage in a dialogue with the oppressed, learning from their experiences and using that knowledge to further liberation struggles. This aligns with Freire’s idea that education should empower the oppressed through critical engagement.
• Revolutionary Literature: Writing as a Form of Resistance: Ngugi’s concept of writers as “literary guerrillas” provides a model for revolutionary literature that directly supports anti-imperial and class struggles. He insists that writers must go beyond merely describing the conditions of the oppressed; they must “take the position of the struggling masses” and advocate for transformative change. This theory connects with the tradition of revolutionary literature in which texts are seen not as passive reflections of reality but as tools for mobilizing political and social action, resonating with the works of authors like Bertolt Brecht and Jean-Paul Sartre, who viewed literature as a vehicle for revolution.
• Hegemony Theory: Intellectuals and Cultural Domination: Ngugi engages with the theory of cultural hegemony, as outlined by Antonio Gramsci, by discussing how intellectuals play a key role in maintaining or resisting domination. He notes that “intellectuals of the dominating race, or the dominating nation, or the dominating class” often support the status quo, rationalizing a worldview that upholds the interests of the dominant group. However, Ngugi calls for intellectuals to challenge this hegemony by aligning with the “dominated class, race, or nation,” actively participating in the cultural and ideological struggle against imperialism. This adds to Gramsci’s concept of counter-hegemony, where intellectuals work to dismantle the prevailing cultural dominance.
• Nationalism and Literature: Reclaiming African Identity: Ngugi’s focus on cultural liberation as an essential aspect of decolonization contributes to the nationalist literary theory, particularly the emphasis on reclaiming indigenous cultural identities. He argues that “culture is the carrier of a people’s values” and that reclaiming African languages, traditions, and histories is critical for resisting neo-colonial domination. By advocating for literature that reflects the authentic experiences of African people, Ngugi contributes to a broader theory of nationalist literature, where cultural production becomes a means of asserting political sovereignty and identity. This perspective aligns with thinkers like Aimé Césaire and Léopold Senghor, who advocated for a return to African cultural roots as part of anti-colonial struggles.
• Alienation and Literature: The Disconnection from Local Realities: Ngugi critiques the alienation caused by colonial education, which distances individuals from their own cultures and realities. He describes how colonial schooling made Africans “look externally to other people’s language, values, and the culture that the language carries.” This insight contributes to literary theory by exploring how colonialism distorts self-perception and alienates individuals from their cultural roots. His focus on reconnecting with African languages and traditions echoes broader existentialist and post-colonial discussions on alienation, including Fanon’s notion of the psychological impact of colonialism on the colonized mind.

Examples of Critiques Through “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Criticism Against “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

• Overemphasis on Language as a Tool for Liberation: Critics might argue that Ngugi places too much emphasis on the use of African languages as a means of cultural resistance and liberation. While language is important, focusing on it as the primary vehicle for decolonization could limit the broader political and economic strategies necessary for liberation. Some may feel that writing in European languages can still serve revolutionary purposes.
• Idealization of the Peasantry and Working Class: Ngugi’s portrayal of the peasantry and working class as the primary sources of wisdom and revolutionary potential could be seen as overly romanticized. Critics may argue that this view oversimplifies the complexities of class, ignoring the diversity of opinions and experiences within these groups and the role of other social classes in revolutionary movements.
• Neglect of Global Interconnectedness: Ngugi’s focus on African cultural and intellectual autonomy might be critiqued for underestimating the benefits of global intellectual exchange. Critics may argue that an outright rejection of foreign influence (e.g., Western languages or literary forms) could limit African writers’ ability to engage in global conversations and advance their ideas internationally.
• Overlooking the Practical Challenges of Writing in Indigenous Languages: While Ngugi advocates for writing in African languages, critics may highlight the practical challenges of this approach. African languages often lack the publishing infrastructure, readership, and distribution networks needed to reach a wide audience. Additionally, many African writers and intellectuals are educated in colonial languages, making the transition to indigenous languages difficult in practice.
• Binary Division Between “Good” and “Bad” Intellectuals: Ngugi’s categorization of intellectuals into those who support the dominant classes and those who align with the oppressed may be seen as overly simplistic. Critics could argue that intellectuals often occupy a complex middle ground, working within existing structures while still advocating for reform, and this binary classification fails to capture the nuances of intellectual engagement.

Representative Quotations from “The Commitment Of The Intellectual” by Ngugi wa Thiong’o with Explanation

Suggested Readings: “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Introduction: “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

“The Writer In A Neocolonial State” By Ngugi Wa Thiong’o holds significant importance in the field of literature and African literary theory. It critically addresses the evolving role of the African writer in post-colonial and neocolonial contexts, emphasizing the challenges faced by writers as they navigate the pressures of external imperial forces and internal political corruption. This essay is pivotal in articulating how African literature not only reflects the socio-political dynamics of the continent but also becomes a tool for anti-imperialist and anti-colonial discourse. Ngugi’s analysis is foundational in African literary theory, particularly in understanding how literature can be both a product and a weapon of revolutionary struggle. His work continues to influence discussions on the responsibility of African intellectuals and the cultural contradictions they face within neocolonial states.

Summary of “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

1. Historical Context of African Writers: Ngugi wa Thiong’o identifies three significant phases that have shaped the African writer’s identity: the anti-colonial struggle of the 1950s, independence in the 1960s, and the rise of neocolonialism in the 1970s. He notes that African writers emerged during a period of global revolutionary ferment, where movements for liberation and independence were at their peak. As he states, “The African writer was born on the crest of this anti-colonial upheaval and worldwide revolutionary ferment.” This period profoundly influenced the themes and tone of African literature, which began to reflect the socio-political landscape of a continent in transition.
2. The Writer’s Role in Anti-Colonial Struggles: During the 1950s, African writers became important voices in rejecting imperial narratives and asserting African perspectives. Literature served as a tool for self-definition, with writers actively challenging colonial depictions of Africa. Ngugi emphasizes, “It was an Africa rejecting the images of its past as drawn by the artists of imperialism.” The literary works of this period were characterized by a confidence in the future, with writers like Chinua Achebe, Wole Soyinka, and Sembene Ousmane creating literature that reflected the optimism of newly independent nations. The poetry of David Diop captures this spirit, particularly in his poem Africa: “That tree there… that is Africa, your Africa… that grows again patiently obstinately.”
3. Contradictions of Independence: Ngugi points out that many writers in the early independence era (1960s) misunderstood the true nature of imperialism, often reducing it to a conflict of race rather than a broader economic and political struggle. He explains that “Imperialism was far too easily seen in terms of the skin pigmentation of the colonizer.” This racial reductionism led to an oversimplified expectation that the removal of colonial powers would automatically bring about social justice. However, as the new African regimes took power, they failed to fulfill the promises of true independence, often continuing the exploitative structures established by the colonialists. Ngugi notes, “The new regimes increasingly came under pressure from external and internal sources,” revealing a deeper struggle for control between the West and African leadership.
4. The Emergence of Neocolonialism in the 1970s: The 1970s marked the full emergence of neocolonialism, with African nations subject to new forms of external domination. Ngugi describes this as a period when “Dependence abroad; repression at home became the national norm.” This dependence was largely orchestrated through economic institutions like the International Monetary Fund (IMF) and the World Bank, which dictated the policies of African nations, maintaining Western control over the continent’s resources. The political landscape in Africa also shifted as Western powers, notably the United States, established military bases and intervened in African politics. Ngugi emphasizes, “The U.S. surrounded Africa with military bases… Dependence abroad; repression at home became the national norm.”
5. Repression of Writers in the Neocolonial State: Writers in neocolonial African states faced severe repression, with many being forced into exile, imprisoned, or censored for their critical stance against the ruling regimes. Ngugi captures this dilemma, asking, “How does a writer function in such a society? Write and risk damnation. Avoid damnation and cease to be a writer.” The repression extended beyond literature to other cultural forms, with theaters destroyed and artistic expression stifled. Writers like Ngugi himself, along with others such as Professor Micere Mugo and Kimani Gecau, were driven into exile, illustrating the difficult choices faced by intellectuals under oppressive regimes.
6. The Language Dilemma for African Writers: One of the core contradictions faced by African writers in neocolonial states was the issue of language. Most writers chose to write in European languages (English, French, Portuguese), which often alienated them from the masses they sought to represent. Ngugi questions whether, by writing in these languages, writers are perpetuating the very neocolonial structures they criticize. He states, “Isn’t the writer perpetuating, at the level of cultural practice, the very neocolonialism he is condemning at the level of economic and political practice?” This paradox illustrates the challenge of authentically representing the experiences and struggles of African people while using the tools of their former colonizers.
7. Ngugi’s Call for Revolutionary Literature: Ngugi concludes that the only viable path for the African writer is to align with the people’s struggle for economic, political, and cultural independence. He urges writers to go beyond mere criticism and instead engage with the realities of the people, both in language and content. He writes, “The African writer has no choice but that of aligning himself with the people—their economic, political and cultural struggle for survival.” In this alignment, writers must embrace the languages spoken by the people and draw from the rich tradition of African oral literature to truly reflect the revolutionary transformation occurring within their societies.
8. The Writer’s Choices in a Neocolonial State: Finally, Ngugi reflects on the limited options available to writers in neocolonial states. Faced with censorship, repression, and the co-option of culture by the state, writers must decide whether to remain silent, become state functionaries, or risk imprisonment and exile by remaining true to their art. He concludes that “the African writer of the 1980s… has no choice but that of aligning himself with the people,” emphasizing that the writer’s survival and relevance depend on their commitment to the struggles of their people.

Literary Terms/Concepts in “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

Contribution of “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

Criticism Against “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

• Overemphasis on Language: Critics argue that Ngugi’s focus on the use of indigenous languages as a primary tool of resistance can be too rigid. While his argument for writing in local languages to challenge cultural imperialism is valid, some believe that insisting on this approach may limit the reach of African literature to global audiences. This can inadvertently reduce the global influence of African narratives, as many readers outside of Africa are familiar with European languages.
• Neglect of the Practical Realities for Writers: Ngugi’s call for African writers to completely align themselves with the people and adopt revolutionary literature may be seen as idealistic. Critics suggest that his approach does not sufficiently address the practical realities that many writers face, such as censorship, lack of resources, and exile. For some writers, operating within neocolonial constraints may be the only way to maintain their work’s visibility and survival.
• Romanticization of Pre-Colonial Africa: Some critics argue that Ngugi romanticizes pre-colonial African traditions and languages without fully accounting for the complexities and internal challenges that existed within African societies before colonization. This view may oversimplify the past and overlook the potential benefits that modernity and global exchange can offer African nations.
• Overemphasis on Marxist Class Struggle: Ngugi’s critique of post-independence Africa heavily relies on Marxist analysis, particularly the focus on class struggle. Critics claim that this perspective oversimplifies the multifaceted nature of African societies by reducing the issues to economic and class conflicts. Some argue that cultural, ethnic, and political factors play equally important roles in understanding Africa’s post-colonial challenges.
• Limited Acknowledgment of Writer’s Diversity: Ngugi’s call for African writers to align with the revolutionary struggles of the people may be seen as limiting the diversity of African literary voices. Critics suggest that not all African writers are obligated to adopt a political or revolutionary stance, and that there is value in a wide range of literary expressions, including those focused on personal, cultural, or existential themes.

Representative Quotations from “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o with Explanation

Suggested Readings: “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o