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<p>The impetus for this research emerged upon encountering Ngugi Wa Thiong’o’s contentious play (in collaboration with Ngugi Wa Mirii), <i>I Will Marry When I Want</i> (1977), which interrogates the sociopolitical landscape of post-independence Kenya. The play offers a trenchant critique of the neocolonial structures that perpetuate socioeconomic disparities, subtly replacing overt colonial violence with the insidious mechanisms of ideological control. Through a Marxist lens, the modern bourgeoisie employs repressive ideologies to divert the proletariat's attention from their material conditions, thereby legitimizing the neocolonial elite’s exploitation of national resources. Ngugi terms these deceptive practices “peanuts,” symbolizing the superficial rewards that postcolonial states receive while remaining subjected to neocolonial exploitation. While imperialist dynamics have been extensively analyzed in literary scholarship, there is a relative dearth of critical engagement with neocolonial practices in African drama, particularly through a Marxist framework. This paper seeks to demonstrate that postcolonial African drama constitutes a form of protest literature, distinct from European traditions. Its unique integration of elements often excluded from the Western canon, combined with its communal, didactic, and therapeutic roles, highlights the genre’s significance in addressing the socio-political realities of postcolonial Africa.</p>

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From Imperialism to Neocolonialism: The Theatrical Revolt of African Protest Literature

  • 期刊论文

  • 发表日期：

    2025年9月27日

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  • Silvia Elias,
  • Bunder Sebail Alshammari,
  • Khaled Nasser Alfraidi,
  • Khaled Mostafa Karam

摘要

The impetus for this research emerged upon encountering Ngugi Wa Thiong’o’s contentious play (in collaboration with Ngugi Wa Mirii), I Will Marry When I Want (1977), which interrogates the sociopolitical landscape of post-independence Kenya. The play offers a trenchant critique of the neocolonial structures that perpetuate socioeconomic disparities, subtly replacing overt colonial violence with the insidious mechanisms of ideological control. Through a Marxist lens, the modern bourgeoisie employs repressive ideologies to divert the proletariat's attention from their material conditions, thereby legitimizing the neocolonial elite’s exploitation of national resources. Ngugi terms these deceptive practices “peanuts,” symbolizing the superficial rewards that postcolonial states receive while remaining subjected to neocolonial exploitation. While imperialist dynamics have been extensively analyzed in literary scholarship, there is a relative dearth of critical engagement with neocolonial practices in African drama, particularly through a Marxist framework. This paper seeks to demonstrate that postcolonial African drama constitutes a form of protest literature, distinct from European traditions. Its unique integration of elements often excluded from the Western canon, combined with its communal, didactic, and therapeutic roles, highlights the genre’s significance in addressing the socio-political realities of postcolonial Africa.