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The Trial of Dedan Kimathi
Ngugi and Micere Mugo have built a powerful and challenging play out of the circumstances surrounding the trial of one of the celebrated leaders of the Mau Mau revolution.
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First published January 1, 1976
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About the author
Ngũgĩ wa Thiong'o
107 books2,016 followersNgũgĩ wa Thiong'o was a Kenyan author and academic, who was described as East Africa's leading novelist.
He began writing in English before later switching to write primarily in Gikuyu, becoming a strong advocate for literature written in native African languages. His works include the celebrated novel The River Between, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He was the founder and editor of the Gikuyu-language journal Mũtĩiri. His short story The Upright Revolution: Or Why Humans Walk Upright was translated into more than 100 languages.
In 1977, Ngũgĩ embarked upon a novel form of theatre in Kenya that sought to liberate the theatrical process from what he held to be "the general bourgeois education system", by encouraging spontaneity and audience participation in the performances. His project sought to "demystify" the theatrical process, and to avoid the "process of alienation [that] produces a gallery of active stars and an undifferentiated mass of grateful admirers" which, according to Ngũgĩ, encourages passivity in "ordinary people". Although his landmark play Ngaahika Ndeenda, co-written with Ngũgĩ wa Mirii, was a commercial success, it was shut down by the authoritarian Kenyan regime six weeks after its opening.
Ngũgĩ was subsequently imprisoned for more than a year. Adopted as an Amnesty International prisoner of conscience, he was released from prison and fled Kenya. He was appointed Distinguished Professor of Comparative Literature and English at the University of California, Irvine. He previously taught at Northwestern University, Yale University, and New York University. Ngũgĩ was frequently regarded as a likely candidate for the Nobel Prize in Literature. He won the 2001 International Nonino Prize in Italy, and the 2016 Park Kyong-ni Prize. Among his children are authors Mũkoma wa Ngũgĩ and Wanjiku wa Ngũgĩ.
He began writing in English before later switching to write primarily in Gikuyu, becoming a strong advocate for literature written in native African languages. His works include the celebrated novel The River Between, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He was the founder and editor of the Gikuyu-language journal Mũtĩiri. His short story The Upright Revolution: Or Why Humans Walk Upright was translated into more than 100 languages.
In 1977, Ngũgĩ embarked upon a novel form of theatre in Kenya that sought to liberate the theatrical process from what he held to be "the general bourgeois education system", by encouraging spontaneity and audience participation in the performances. His project sought to "demystify" the theatrical process, and to avoid the "process of alienation [that] produces a gallery of active stars and an undifferentiated mass of grateful admirers" which, according to Ngũgĩ, encourages passivity in "ordinary people". Although his landmark play Ngaahika Ndeenda, co-written with Ngũgĩ wa Mirii, was a commercial success, it was shut down by the authoritarian Kenyan regime six weeks after its opening.
Ngũgĩ was subsequently imprisoned for more than a year. Adopted as an Amnesty International prisoner of conscience, he was released from prison and fled Kenya. He was appointed Distinguished Professor of Comparative Literature and English at the University of California, Irvine. He previously taught at Northwestern University, Yale University, and New York University. Ngũgĩ was frequently regarded as a likely candidate for the Nobel Prize in Literature. He won the 2001 International Nonino Prize in Italy, and the 2016 Park Kyong-ni Prize. Among his children are authors Mũkoma wa Ngũgĩ and Wanjiku wa Ngũgĩ.
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Displaying 1 - 22 of 22 reviews
February 20, 2020
powerful and heartbreaking. would love to see it on stage. i loved the detailed stage directions & the contrast between prose of the imperialist supporters and the poetry of Kimathi as the voice of the people and art that fights the state.
March 22, 2016
This is a beautifully written book about Kenyan Culture and their struggle for independence. It shows how brutal, cheap, manipulative, money monger the white man was. How the capitalists exploited the natives. One of my favourite quotes from the book is
"Two laws. Two justices.One law and one justice protects the man of property, the man of wealth, the foreign exploiter. Another law, another justice, silences the poor, the hungry, our people."
It shows the exploitation of women in the Kenyan society. And it also focuses on the concern of 'neo-coloniser'.
So, in short I would add that this is a short but rich text. A must read.
"Two laws. Two justices.One law and one justice protects the man of property, the man of wealth, the foreign exploiter. Another law, another justice, silences the poor, the hungry, our people."
It shows the exploitation of women in the Kenyan society. And it also focuses on the concern of 'neo-coloniser'.
So, in short I would add that this is a short but rich text. A must read.
February 16, 2021
My 2nd book for February completed 🤩
"Ngugi and Micere Mugo have built a powerful and challenging play out of the circumstances surrounding the trial of one of the celebrated leaders of the Mau Mau revolution. They sing the praises of the deeds of this hero of the resistance who refused to surrender to British imperialism. The play had an outstanding success in Nairobi before been taken to FESTAC in Lagos as an official Kenyan entry."
I'm very happy to have learned this great history lesson ✊🏿
#bookchallenge2021 📚
#4bookspermonth 🖖🏿
#readinggoals 🖤
"Ngugi and Micere Mugo have built a powerful and challenging play out of the circumstances surrounding the trial of one of the celebrated leaders of the Mau Mau revolution. They sing the praises of the deeds of this hero of the resistance who refused to surrender to British imperialism. The play had an outstanding success in Nairobi before been taken to FESTAC in Lagos as an official Kenyan entry."
I'm very happy to have learned this great history lesson ✊🏿
#bookchallenge2021 📚
#4bookspermonth 🖖🏿
#readinggoals 🖤
March 30, 2012
A play I would love to see! The Trial of Dedan Kimathi showcases the trial of the rebel leader, and ends up comparing him to Jesus and the worst ranks of the populance. Clearly a treat for the eyes onstage, and a big step forward (at its writing) towards defining and experimenting with Kenya's theatrical identity and traditions, this play is worth the time for anyone interested in post-colonial work.
July 30, 2025
Am I the only one who kept imaging this play on a stage?
What a war Field Marshal Dedan Kimathi fought
Even till his last breath.
The Kenyan language in the play made it a little difficult for me.
At least now I know about Dedan Kimathi
And the fight for freedom in Kenyan
I should read more books like this. lol
I learnt so much, and I'm very happy about that.
Nguyi wa thiongo is such an intelligent writer... This is his second play I'm reading this week
What a war Field Marshal Dedan Kimathi fought
Even till his last breath.
The Kenyan language in the play made it a little difficult for me.
At least now I know about Dedan Kimathi
And the fight for freedom in Kenyan
I should read more books like this. lol
I learnt so much, and I'm very happy about that.
Nguyi wa thiongo is such an intelligent writer... This is his second play I'm reading this week
October 8, 2019
Dedani Kimathi was a leader of the Mau Mau rebellion of 1952-1956. He was arrested in 1956, tried and executed by the British colonial masters for his guerrilla activities paving the way for Kenyatta to emerge ultimately as Kenya's post-colonial leader.
The book was written in the form of a play, dramatising Dedan Kimathi's trial. According to Ngugi, they wrote the play as a response to the colonialist writings about the Mau Mau rebellion and its leaders. Thus, in essence, it is not Dedani Kimathi on trial but colonialism and the British colonial justice system.
A short but interesting play
The book was written in the form of a play, dramatising Dedan Kimathi's trial. According to Ngugi, they wrote the play as a response to the colonialist writings about the Mau Mau rebellion and its leaders. Thus, in essence, it is not Dedani Kimathi on trial but colonialism and the British colonial justice system.
A short but interesting play
August 6, 2021
we who struggle against exploitation and oppression, should give one another strength and faith till victory is ours.”
pg. 60
This sweet little play was written by Ngũgĩ wa Thiong'o while he himself was imprisoned by the Daniel Arap Moi regime. It’s a very powerful play of the legendary freedom fighter Dedan Kimathi Wa Wacuiri who led The Kenyan Land and Freedom Army and its ideals. Ngugi wrote this fictionalized trial on what Dedan should've received. But in this play Ngugi exposes the truth behind "Moneyed Justice"
and lessons on how neocolonial attitudes helped defund the process of true African Liberation.
This play deserves much more attention, in literature and theater. It has many potentials of overstanding. This books gets 8 stars from me. This short play has valuable messages.
*The Kenyan Land and Freedom Army are pieces of the truth and reason on why many people walk this land with locs including the very Rastafari livity (Youth Black Faith). Locs are revolutionary expressions of struggle and identity. Not fashion.
pg. 60
This sweet little play was written by Ngũgĩ wa Thiong'o while he himself was imprisoned by the Daniel Arap Moi regime. It’s a very powerful play of the legendary freedom fighter Dedan Kimathi Wa Wacuiri who led The Kenyan Land and Freedom Army and its ideals. Ngugi wrote this fictionalized trial on what Dedan should've received. But in this play Ngugi exposes the truth behind "Moneyed Justice"
and lessons on how neocolonial attitudes helped defund the process of true African Liberation.
This play deserves much more attention, in literature and theater. It has many potentials of overstanding. This books gets 8 stars from me. This short play has valuable messages.
*The Kenyan Land and Freedom Army are pieces of the truth and reason on why many people walk this land with locs including the very Rastafari livity (Youth Black Faith). Locs are revolutionary expressions of struggle and identity. Not fashion.
April 13, 2025
Discovered Ngugi wa Thiong'o with "Dreams in a Time of War", a beautiful memoir. And "The Trial of Dedan Kimathi" is a direct recounting of those times of the Mau Mau rebellion. The fact that we use words like 'rebellion' to talk of indigenous uprisings, of peoples who are conscious of their being oppressed and want to overthrow their oppressors, can very easily be diminished by showing them as uncivilised fighting against a benevolent colonising class. As in India, that of 1857 Mutiny.
The short play is able to include the farce of judgement being meted down, by someone who might have been a child at the same time as the person he judges, with the reality of different destinies being visible even in the children's play.
It includes the modifications in the system that benefit a certain small number of people while the masses still struggle to survive. The Indian bank representatives brings home the disillusionment of independence, also legitimised through religion. A short play, with long commentary on contemporaries.
And then the religious domination, the treason brought about by poverty, and then the mythology of a Kimathi living on, possibly in the children who despite adversity could be brought to realising their identity.
Social reflection shows how aware Thiong'o is of the need to recognise the women and their multiple exploitation. The life of Wangari Mathai seems to enter the women characters in the play.
Not knowing the language took away from my understanding of the songs, I'm sure seeing the play on stage would be amazing, specially with the detailed show notes.
The short play is able to include the farce of judgement being meted down, by someone who might have been a child at the same time as the person he judges, with the reality of different destinies being visible even in the children's play.
It includes the modifications in the system that benefit a certain small number of people while the masses still struggle to survive. The Indian bank representatives brings home the disillusionment of independence, also legitimised through religion. A short play, with long commentary on contemporaries.
And then the religious domination, the treason brought about by poverty, and then the mythology of a Kimathi living on, possibly in the children who despite adversity could be brought to realising their identity.
Social reflection shows how aware Thiong'o is of the need to recognise the women and their multiple exploitation. The life of Wangari Mathai seems to enter the women characters in the play.
Not knowing the language took away from my understanding of the songs, I'm sure seeing the play on stage would be amazing, specially with the detailed show notes.
October 26, 2025
*We cannot stand on the fence
We are either on the side of the people or on the side of imperialism.*
Strong moral dilemma and writing style enriched with history.
It tackles the debate on how should Africans as a whole address the various issues they encounter. Through the lens of collaboration and resistance we see a clear picture of the Colonialism era.
Through Kimathi wa Wachiuri we encounter an enigma.
We are either on the side of the people or on the side of imperialism.*
Strong moral dilemma and writing style enriched with history.
It tackles the debate on how should Africans as a whole address the various issues they encounter. Through the lens of collaboration and resistance we see a clear picture of the Colonialism era.
Through Kimathi wa Wachiuri we encounter an enigma.
May 26, 2020
I am beyond appreciative for the use of poetry in this play and its contradiction with the character development and their importance! I would truly love to see this play live since it would have been a delightful piece.
February 18, 2022
This is one of my first times reading a play from the perspective of the suppressed black. Really takes you on a journey around the struggle for freedom by the Kenyan people. It was actually thrilling and saddening in equal measures. It's not a long play and would definitely recommend it.
November 17, 2023
first, shoutout to this edition , the translation and also the notes along with added translated songs too made the reading a great smooth experience.
Great read! What I would give to experience first hand a good production ,that follows all cues, on stage ! IT would be so amazing.
Great read! What I would give to experience first hand a good production ,that follows all cues, on stage ! IT would be so amazing.
September 1, 2023
'denounce those who weaken
Our struggles
by creating ethnic divisions'
...
Our struggles
by creating ethnic divisions'
...
This entire review has been hidden because of spoilers.
May 20, 2024
This was amazing and so well written
May 24, 2024
OHMYGOD WHY DID I NOT WANT TO READ THIS THIS WAS FUCKING AWESOME MAN OHMYGOD
Read
January 24, 2025Great play
October 13, 2023
Not usually into plays but this was a great expression of the struggles of neocolonialist influences within Kenya following uhuru
June 4, 2023
The fluidity of the play and the characters was an important technique I explored in Ngugi's text other than his abrogating the English language for writing it. The reading complements the book authored by Frantz Fanon which goes by the title, Black Skin White Masks. I would say please give it a read to explore Postcolonial narratives :).
Currently reading
June 5, 2012a must read
March 13, 2016
Voice of the Africans. I salute the effort
Read
November 18, 2016It is so interesting play
Read
October 26, 2017Great play
Displaying 1 - 22 of 22 reviews