By Burnett Munthali
Ngũgĩ wa Thiong’o has long been a literary force in African literature, using his works to challenge societal norms, corruption, and oppressive political structures.
I Will Marry When I Want, co-written with Ngugi wa Mirii, stands as one of his most controversial and politically charged works.
First performed in 1977 in Kenya, the play was developed in collaboration with Kikuyu actors at the Kamiriithu Cultural Centre in Limuru.
Its raw and unfiltered critique of post-colonial Kenya’s political, religious, and economic systems led to its banning and likely contributed to Ngũgĩ wa Thiong’o’s detention without trial.
At its core, the play tells the story of Kiguunda, a poor farmer who owns a small piece of land.
His simple life is disrupted when he is deceived into taking a loan, using his land as collateral.
The pressures of religion, capitalism, and societal expectations force him into a situation where he stands to lose everything.
Through this narrative, the play boldly exposes the hypocrisy of religious institutions, which claim to advocate for morality while being complicit in economic exploitation.
It also critiques the capitalist elite, who manipulate the working class for their gain, perpetuating cycles of poverty and disenfranchisement.
One of the most striking aspects of I Will Marry When I Want is its innovative use of performance.
The play incorporates song and dance, enhancing its emotional and cultural resonance.
This blend of storytelling with traditional oral performance made it especially powerful when staged, drawing audiences from all walks of life.
It was not merely a play; it was a movement—one that deeply unsettled the ruling class, leading to its swift ban by the Kenyan government.
Beyond its political message, the title itself—I Will Marry When I Want—holds significant personal and social weight.
It represents a defiance against imposed societal norms, particularly those related to marriage, wealth, and personal agency.
The phrase can be interpreted as a declaration of independence, a refusal to be controlled by cultural and religious expectations that dictate when and how one should make life choices.
While the play is set in Kenya, its themes remain universally relevant across Africa and beyond.
The exploitation of the poor by the wealthy, the entanglement of religion in politics, and the struggle for economic justice are issues that continue to affect many societies.
The play serves as both a historical document of post-colonial Kenya and a timeless call to resist oppression in all its forms.
In conclusion, I Will Marry When I Want is a masterpiece of resistance literature. Its bold critique of societal injustices, combined with its compelling storytelling and cultural authenticity, make it an essential read for anyone interested in African literature, political theatre, or the power of art as a tool for change.
It is a testament to the enduring strength of voices that refuse to be silenced, and its impact remains just as powerful today as it was at the time of its first performance.
