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Page 384 | Decolonising the Mind Ngugi wa Thiong'o from Decolonising the Mind In this essay one of Africa's most distinguished novelists discusses some of the connections between language and culture. III I was born into a large peasant family: father, four wives and about twenty- eight children. I also belonged, as we all did in those days, to a wider extended family and to the community as a whole. We spoke Gi kuyH as we worked in the fields. We spoke Gi kttyu in and outside the home. I can vividly recall those evenings of storytelling around the fireside. It was mosdy the grown-ups telling the children but everybody was interested and involved. We children would re-tell the stories the following day to other children who worked in the fields picking the pyrethrum flowers, tea-leaves or coffee beans of our European and African landlords. The stories, with mostly animals as the main characters, were all told in Gi kuy U. Hare, being small, weak but full of innovative wit and cunning, was our hero. We identified with him as he struggled against the brutes of prey like lion, leopard, hyena. His victories were our victories and we learnt that the apparently weak can outwit the strong. We followed the animals in their struggle against hostile nature— drought, rain, sun, wind— a confrontation often forcing them to search for forms of co-operation. But we were also interested in their struggles amongst themselves, and particularly between the beasts and the victims of prey. These twin struggles, against nature and other animals, reflected real-life struggles in the human world. Not that we neglected stories with human beings as the main characters. There were two types of characters in such human-centred narratives: the species of truly human beings with qualities of courage, kindness, mercy, Decolonising the Mind | Page 385 hatred of evil, concern for others; and a man-eat-man two-mouthed species with qualities of greed, selfishness, individualism and hatred of what was good for the larger co-operative community. Co-operation as the ultimate good in a community was a constant theme* It could unite human beings with animals against ogres and beasts of prey, as in the story of how dove, after being fed with castor-oil seeds, was sent to fetch a smith working far away from home and whose pregnant wife was being threatened by these man-eating two-mouthed ogres. There were good and bad story-tellers. A good one could tell the same story over and over again, and it would always be fresh to us, the listeners. He or she could tell a story told by someone else and make it more alive and dramatic. The differences really were in the use of words and images and the inflexion of voices to effect different tones. We therefore learnt to value words for their meaning and nuances. Language was not a mere string of words. It had a suggestive power well beyond the immediate and lexical meaning. Our appreciation of the suggestive magical power of language was reinforced by the games we played with words through riddles, proverbs, transpositions of syllables, or through nonsensical but musically arranged words. So we learnt the music of our language on top of the content. The language, through images and symbols, gave us a view of the world, but it had a beauty of its own. The home and the field were then our pre-primary school but what is important, for this discussion, is that the language of our evening teach-ins, and the language of pur immediate and wider community, and the language of our work in the ^fields were one. And then I went to school, a colonial school, and this harmony was broken. The language of my education was no longer the language of my culture. I first went to Kamaandura, missionary run, and then to another called Maanguuu run by nationalists grouped around the Gikuyu Independ- ent and Karinga Schools Association. Our language of education was still Gikuyu. The very first time I was ever given an ovation for my writing was over a composition in Gikuyu. So for my first four years there was still harmony between the language of my formal education and that of the Limuru peasant community. It was after the declaration of a state of emergency over Kenya in 1 952 that all the schools run by patriotic nationalists were taken over by the colonial regime and were placed under District Education Boards chaired by Englishmen. English became the language of my formal education. In Page 386 | Decolonising the Mind Kenya, English became more than a language: it was Slanguage, and all the others had to bow before it in deference. Thus one of the most humiliating experiences was to be caught speaking GikuyU in the vicinity of the school. The culprit was given corporal punishment — three to five strokes of the cane on bare buttocks — or was made to carry a metal plate around the neck with inscriptions such as I AM STUPID or I AM A DONKEY. Sometimes the culprits were fined money they could hardly afford. And how did the teachers catch the culprits? A button was initially given to one pupil who was supposed to hand it over to whoever was caught speaking his mother tongue. Whoever had the button at the end of the day would sing who had given it to him and the ensuing process would bring out all the culprits of the day. Thus children were turned into witch-hunters and in the process were being taught the lucrative value of being a traitor to one's immediate community. The attitude to English was the exact opposite: any achievement in spoken or written English was highly rewarded; prizes, prestige, applause; the ticket to higher realms. English became the measure of intelligence and ability in the arts, the sciences* and all the other branches of learning. English became the main determinant of a child's progress up the ladder of formal education. As you may know, the colonial system of education in addition to its apartheid racial demarcation had the structure of a pyramid: a broad primary base, a narrowihg secondary middle, and an even narrower university apex. Selections from primary into secondary were through an examination, in my time called Kenya African Preliminary Examination, in which one had to pass six subjects ranging from Maths to Nature Study and Kiswahili. All the papers were written in English. Nobody could pass the exam who failed the English language paper no matter how brilliantly he had done in the other subjects* I remember one boy in my class of 1954 who had distinctions in all subjects except English, which he had failed. He was made to fail the entire exam. He went on to become a turn boy in a bus company. I who had only passes but a credit in English got a place at the Alliance High School, one of the most elitist institutions for Africans in colonial Kenya. The requirements for a place at the University, Makerere University College, were broadly the same: nobody could go on to wear the undergraduate red gown, no matter how brilliantly they had performed in all the other subjects unless they had a credit-— not even a simple passl-— in English. Thus the most coveted place in the pyramid and in the system was only available to the holder of an Decolonising the Mind | Page 387 English language credit card. English was the official vehicle and the magic formula to colonial elitedoth. Literary education was now determined by the dominant language while also reinforcing that dominance. Orature (oral literature) in Kenyan languages stopped. In primary school I now read simplified Dickens and Stevenson alongside Rider Haggard. Jim Hawkins, Oliver Twist, Tom Brown — not Hare, Leopard and Lion— were now my daily companions in the world of imagination. In secondary school, Scott and G.B. Shaw vied with more Rider Haggard, John Buchan, Alan Paton, Captain W.E. Johns. At Makerere I read English: from Chaucer to T.S. Eliot with a touch of Grahame Greene. Thus language and literature were taking us further and further from ourselves to other selves, from our world to other worlds. What was the colonial system doing to us Kenyan children? What were the consequences of, on the one hand, this systematic suppression of our languages and the literature they carried, and on the other the elevation of English and the literature it carried? To answer those questions, let me first examine the relationship of language to human experience, human culture, and the human perception of reality. IV Language, any language, has a dual character: it is both a means of commu- nication and a carrier of culture. Take English; It is spoken in Britain and in Sweden and Denmark, But for Swedish and Danish people English is only a means of communication with non-Scandinavians. It is not a carrier of their culture. For the British, and particularly the English, it is additionally, and inseparably from its use as a tool of communication, a carrier of their culture and history. Or take Swahili in East and Central Africa. It is widely used as a means of communication across many nationalities. But it is not the carrier of a culture and history of many of those nationalities. However in parts of Kenya and Tanzania, and particularly in Zanzibar, Swahili is inseparably both a means of communication and a carrier of the culture of those people to whom it is a mother-tongue. Language as communication has three aspects or elements. There is first what Karl Marx once called the language of real life, the element basic to the whole notion of language, its origins and development: that is, the relations people enter into with one anbmer in the labour process, the links they^ necessarily establish among themselves in the act of a people, a community of human beings, producing wealth or means of life like food, clothing, Page 388 | Decolonising the Mind houses. A human community really starts its historical being as a community of co-operation in production through the division of labour; the simplest is between man, woman and child within a household; the more complex divisions are between branches of production such as those who are sole hunters, sole gatherers of fruits or sole workers in metal. Then there are the most complex divisions such as those in modern factories where a single product, say a shirt or a shoe, is the result of many hands and minds. Production is co-operation, is communication, is language, is expression of a relation between human beings and it is specifically human. The second aspect of language as communication is speech and it imitates the language of real life, that is communication in production. The verbal signposts both reflect and aid communication or the relation established between human beings in the production of their means of life. Language as a system of verbal signposts makes that production possible. The spoken word is to relations between human beings what the hand is to the relations between human beings and nature. The hand through tools mediates between human beings and nature and forms the language of real life: spoken words mediate between human beings and form the language of speech. The third aspect is the written signs. The written word imitates the spoken. Where the first two aspects of language as communication through the hand and the spoken word historically evolved more or less simulta- neously, the written aspect is a much later historical development. Writing is representation of sounds with visual symbols, from the simplest knot among shepherds to tell the number in a herd or the hieroglyphics among the Agikuyu gicaandi singers and poets of Kenya, to the most complicated and different letter and picture writing systems of the world today. In most societies the written and the spoken languages are the same, in that they represent each other: what is on paper can be read to another person and be received as that language, which the recipient has grown up speaking. In such a society there is broad harmony for a child between the three aspects of language as communication. His interaction with nature and with other men is expressed in written and spoken symbols or signs which are both a result of that double interaction and a reflection of it. The association of the child's sensibility is with the language of his experience of life. But there is more to it: communication between human beings is also the basis and process of evolving culture. In doing similar lands of things and actions over and over again under similar circumstances, similar even in their Decolonising the Mind | Page 389 mutability, certain patterns, moves, rhythms, habits, attitudes, experiences and knowledge emerge. Those experiences are handed over to the next generation and become the inherited basis for their further actions on nature and on themselves. There is a gradual accumulation of values whicK in time become almost self-evident truths governing their conception of what is right and wrong, good and bad, beautiful and ugly, courageous and cowardly, generous and mean in their internal and external relations. Over a time this becomes a way of life distinguishable from other ways of life. They develop a distinctive culture and history. Culture embodies those moral, ethical and aesthetic values, the set of spiritual eyeglasses, through which they come to view themselves and their place in the universe. Values are the basis of a people's identity, their sense of particularity as members of the human race. All this is carried by language. Language as culture is the collective memory bank of a peoples experience in history. Culture is almost indistinguishable from the language that makes possible its genesis, growth, banking, articulation and indeed its transmission from one generation to the next. Language as culture also has three important aspects. Culture is a product of the history which it in turn reflects. Culture in other words is a product and a reflection of human beings communicating with one another in the very struggle to create wealth and to control it. But culture does not merely reflect that history, or rather it does so by actually forming images or pictures of the world of nature and nurture. Thus the second aspect of language as culture is as an image-forming agent in the mind of a child. Our whole conception of ourselves as a people, individually and collectively, is based on those pictures and images which may or may not correctly correspond to the actual reality of the struggles with nature and nurture which produced them in the first place. But our capacity to confront the world creatively is dependent on how those images correspond or not to that reality, how they distort or clarify the reality of our struggles. Language as culture is thus mediating between me and my own self; between my own self and other selves; between me and nature. Language is mediating in my very being. And this brings us to the third aspect of language as culture. Culture transmits or imparts those images of the world and reality through the spoken and the written language, that is through a specific language. In other words, the capacity to speak, the capacity to order sounds in a manner that makes for mutual comprehension between human beings is universal. This is the universality of language, a quality specific to human beings. It corresponds to the universality of the struggle against nature and that between human beings. But the particularity of the sounds, the words, the Page 390 | Decolonising the Mind word order into phrases and sentences, and the specific manner, or laws, of their ordering is what distinguishes one language from another. Thus a specific culture is not transmitted through language in its universality but in its particularity as the language of a specific community with a specific history. Written literature and orature are the main means by which a particular language transmits the images of the world contained in the culture it carries. Language as communication and as culture are then products of each other. Communication creates culture: culture is a means of communication. Language carries culture, and culture carries, particularly through orature and literature, the entire body of values by which we come to perceive ourselves and our place in the world. How people perceive themselves affects how they look at their culture, at their politics and at the social production of wealth, at their entire relationship to nature and to other beings. Language is thus inseparable from ourselves as a community of human beings with a specific form and character, a specific history, a specific relationship to the world. V So what was the colonialist imposition of a foreign language doing to us children? The real aim of colonialism was to control the people's wealth: what they produced, how they produced it, and how it was distributed; to control, in other words, the entire realm of the language of real life. Colonialism imposed its control of the social production of wealth through military conquest and subsequent political dictatorship. But its most important area of domination was the mental universe of the colonised, the control, through culture, of how people perceived themselves and their relationship to the world. Economic and political control can never be complete or effective without mental control. To control a peoples culture is to control their tools of self-definition in relationship to others. For colonialism this involved two aspects of the same process: the destruction or the deliberate undervaluing of a peoples culture, their art, dances, religions, history, geography, education, orature and literature, and the conscious elevation of the language of the coloniser. The domination of a people's language by the languages of the colonising nations was crucial to the domination of the mental universe of the colonised. Take language as communication. Imposing a foreign language, and suppressing the native languages as spoken and written, were already Decolonising the Mind | Page 391 breaking the harmony previously existing between the African child and the three aspects of language. Since the new language as a means of communica- tion was a product of and was reflecting the "real language of life" elsewhere, it could never as spoken or written properly reflect or imitate the real life of that community. This may in part explain why technology always appears to us as slightly external, their product and not ours. The word "missile" used to hold an alien far-away sound until I recently learnt its equivalent in Gikuyu, ngurukuhizrA it made me apprehend it differently. Learning, for a colonial child, became a cerebral activity and not an emotionally felt experience. But since the new, imposed languages could never completely break the native languages as spoken, their most effective area of domination was the third aspect of language as communication, the written. The language of an African child's formal education was foreign. The language of the books he read was foreign. The language of his conceptualisation was foreign. Thought, in him, took the visible form of a foreign language. So the written language of a child's upbringing in the school (even his spoken language within the school compound) became divorced from his spoken language at home. There was often not the slightest relationship between the child's written world, which was also the language of his schooling, and the world of his immediate environment in the family and the community. For a colonial child, the harmony existing between the three aspects of language as communication was irrevocably broken. This resulted in the disassociation of the sensibility of that child from his natural and social environment, what we might call colonial alienation. The alienation became reinforced in the teaching of history, geography, music, where bourgeois Europe was always the centre of the universe. This disassociation, divorce, or alienation from the immediate environ- ment becomes clearer when you look at colonial language as a carrier of culture. Since culture is a product of the history of a people which it in turn reflects, the child was now being exposed exclusively to a culture that was a product of a world external to himself. He was being made to stand outside himself to look at himself. Catching Them Young is the tide of a book on racism, class, sex, and politics in children's literature by Bob Dixon. "Catching them young" as an aim was even more true of a colonial child. The images of his world and his place in it implanted in a child take years to eradicate, if they ever can be. Page39 2 I Decolonising the Mind Since culture does not just reflect the world in images but actually, through those images, conditions a child to see that world a certain way, the colonial child was made to see the world and where he stands in it as seen and defined by or reflected in the culture of the language of imposition. And since those images are mostly passed on through orature and literature it meant the child would now only see the world as seen in the literature of his language of adoption. From the point of view of alienation, that is of seeing oneself from outside oneself as if one was another self, it does not matter that the imported literature carried the great humanist tradition of the best Shakespeare, Goethe, Balzac, Tolstoy, Gorky, Brecht, Sholokhov, Dickens. The location of this great mirror of imagination was necessarily Europe and its history and culture and the rest of the universe was seen from that centre. But obviously it was worse when the colonial, child was exposed to images of his world as mirrored in the written languages of his coloniser. Where his own native languages were associated in his impressionable mind with low status, humiliation, corporal punishment, slow- footed intelligence and ability or downright stupidity, non-intelligibility and barbarism, this was reinforced by the world he met in the works of such geniuses of racism as a Rider Haggard or a Nicholas Monsarrat; not to mention the pronouncement of some of the giants of western intellectual and political establishment, such us Hume ("..The negro is naturally inferior to the whites..."), Thomas Jefferson (". . .The blacks. . .are inferior to the whites on the endowments of both body and mind. . . "), or Hegel with his Africa comparable to a land of childhood still enveloped in the dark mantle of the night as far as the development of self-conscious history was concerned. Hegel's statement that (here was nothing harmonious with humanity to be found in the African character is representative of the racist images of Africans and Africa such a colonial child was bound to encounter in the literature of the colonial languages. The results could be disastrous. (1986) Questions: 1 . How do you feel the opening sentence affects the average Western reader? Why would Ngugi choose to write this, and to place it in such a prominent location in his essay? 2. What is the rhetorical purpose of paragraph M? Is it effective? Decolonising the Mind | Page 393 3. In paragraph 1 5, Ngugi argues that a language has a communication function for all people who speak that language, but that it also serves as a carrier of culture for all those for whom that language is the mother-tongue. If you speak two or more languages, does this assertion meet with your own experience? 4. Discuss how the imposition of a foreign language breaks "the harmony previously existing between the African child and the three aspects of language" (paragraph 26). 5. Toward the end of his essay, Ngugi makes reference to the European- based writers of literature he was forced to study as a child, and how these stories did not match his own experiences. How do the poems, essays, plays and novels you are being asked to read in this course reflect your experiences? If you were the instructor of this course, how would you go about selecting a reading list?

the complete review - non-fiction


Decolonising the Mind

Ngũgĩ wa Thiong'o

general information | review summaries | our review | links | about the author

  • The Politics of Language in African Literature
  • The essays collected in this volume were previously presented and published elsewhere

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Our Assessment:

B : important arguments, fairly well presented, but too ideologically coloured

See our review for fuller assessment.

New Statesman.8/8/1986Adewale Maja-Pearce

  From the Reviews:
  • "Ngugi's presentation of the case suffers from a romaticiziation of the peasantry. It is as if African culture is an exclusively peasant affair. (...) This misleading bit of Marxist hagiography aside, Ngugi's book remains invaluable as an African intellectuals account of his withdrawal from the Eurocentric culture of the neo-colonial state in which he was nurtured." - Chinweizu, Times Literary Supplement

Please note that these ratings solely represent the complete review's biased interpretation and subjective opinion of the actual reviews and do not claim to accurately reflect or represent the views of the reviewers. Similarly the illustrative quotes chosen here are merely those the complete review subjectively believes represent the tenor and judgment of the review as a whole. We acknowledge (and remind and warn you) that they may, in fact, be entirely unrepresentative of the actual reviews by any other measure.

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The complete review's Review:

       Ngugi wa Thiong'o famously began his writing career writing in English (publishing under the name "James Ngugi"). He had considerable success, but eventually turned to writing in his mother tongue, Gikuyu (though he did translate and publish these later works in English too). Ngugi is among a handful of authors who have written successfully in more than one language -- Samuel Beckett and Vladimir Nabokov are among the few others -- but his reasons for doing so differ somewhat from those of other bilingual authors. Decolonising the Mind is both an explanation of how he came to write in Gikuyu, as well as an exhortation for African writers to embrace their native tongues in their art.
       The foreign languages most African authors write in are the languages of the imperialists -- English, French, and Portuguese -- that were relatively recently imposed on them. (Ngugi doesn't consider Arabic in the same light, nor Swahili.) Ngugi makes a good case for the obvious point: that the relation of Africans to those imposed languages is a very different one from that which the same Africans have to the native languages they speak at home. Speaking and writing in the language of the colonisers will naturally be different than in the language one speaks while at play or with one's family. In addition, the language of the coloniser is often a truly foreign one: segments of society understand it badly, if at all, and so certain audiences can not be reached by works in these imposed languages. (The validity of some of these points has, however, diminished over the past decades, as literacy has spread and French, Portuguese, and especially English have established themselves as linguae francae across much of the continent.)
       Ngugi rightly complains that an educational focus that embraced essentially only foreign works (not only foreign in language, but also in culture) was destructive:

Thus language and literature were taking us further and further from ourselves to other selves, from our world to other worlds.
       Clearly there was (and probably still is) a need to create a literature that conveyed the true African experience -- from the perspective of the local, not the visitor or outsider. The local language is an integral part of conveying that experience, often because much of local tradition has been preserved in that language -- for example, in the songs and stories that have been passed down (the oral tradition -- orature -- that Ngugi values so highly).
       In the second chapter of this book, "The Language of African Theatre", Ngugi describes his experiences at the Kamiriithu Community Education and Culture Centre, and the efforts to stage drama there -- in Gikuyu. Ngugi convincingly shows the benefits of working in the local language, and within local traditions, as the entire community works together to create and shape a play.
       Ngugi's basic arguments are largely convincing, and his personal experiences, related to explain how he learned and changed his views, make the entire book an interesting read. Occasionally he does go overboard: in the end he maintains that it is:
manifestly absurd to talk of African poetry in English, French or Portuguese. Afro-European poetry, yes; but not to be confused with African poetry which is the poetry composed by Africans in African languages.
       For new generations the language of the former imperialists has also become something different. Admittedly, too often it is the Westernized worldview found in music, television, and film -- but then the French complain about a similar cultural imperialism too. Ngugi is right to say that it is important to reach an audience in the language of its heritage, but one of the difficulties with that is that it is financially difficult to publish in local languages in Africa. The state of publishing is deplorable through much of the continent, and writers are drawn to English and French also because the audiences (and publishers) they want to reach are often Western ones.
       We at the complete review are always terribly disappointed by how difficult it is to find any books by African authors originally written in an African language. There are a few, but they are very few. (Similarly, it is very difficult to find books originally written in Hindi or other Indian languages, while there are dozens of "Indian" authors who write in English.) Ngugi is to be lauded for his efforts in this area, and for his willingness to stand up for what he believes. Would that more followed his example.
       Among the problems with Decolonising the Mind is its political and ideological slant. He writes of "two mutually opposed forces in Africa today: an imperialist tradition on one hand, and a resistance tradition on the other." Imperialism for him continues after the colonial period: it is "the rule of consolidated finance capital". Ngugi's worldview here is still profoundly Marxist, and one has to question how useful this simple division -- imperialism versus resistance -- is at the beginning of the 21st century. (Curiously he chooses to see the class struggle as universal, never considering that it too might be an imperialist fiction imposed on Africa despite not fitting African tradition, culture, or history.)
       The book also focusses on art-with-a-purpose: be it pedagogic or political or helping preserve traditions or forge identities, all the literature he considers serves a purpose. The simple beauty of art isn't at issue for him -- in part, no doubt, because he does not want to admit that politically incorrect art (of any stripe or colour -- even art with say a blatantly imperialist message) might still have some value.
       Decolonising the Mind is an interesting, if occasionally too heated (and too simplistic) work. It addresses significant issues, and Ngugi's presentation is consistently engaging. Though aspects are already dated, it can still serve as the basis for fruitful discussion of a subject that continues to be of interest.

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Decolonising the Mind: Reviews: Ngũgĩ wa Thiong'o: Other books by Ngugi wa Thiong'o under review: Other books of interest under review:

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About the Author:

       Kenyan author (James) Ngũgĩ wa Thiong'o was born in 1938.

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