<\/p>\n
Ngugi\u2019s Decolonizing the Mind \u2014 The Language of African Theatre<\/em><\/strong><\/p>\n \u201cDrama is closer to the dialectics of life than poetry and the fiction. Life is movement arising from the inherent contradiction and unity of opposites. Man and woman meet in a united dance of opposites out of which comes a human life separate from the two that gave it birth but incorporating features of both in such a way that it is recognizable at a glance that so and so is really product of so and so. The growth of that life depends on some cells dying and others being born (54).\u201d<\/p>\n \u00a0<\/em><\/p>\n \u00a0<\/em>Rewrite of Quote:<\/u><\/em><\/strong><\/p>\n drama is clo\/ser to the dialectics<\/p>\n of life than poetry\/nd\/ d fiction\/<\/p>\n life is movement risin from d inherent contradiction nd unity of opposites\/<\/p>\n man and woman<\/p>\n meet in a united dance of opposites\/ out of which comes<\/p>\n <\/p>\n a human life separate\/<\/p>\n from d two that gave it birth\/ but incorporating features of both\/<\/p>\n in such a way that it is\/ recognizable\/<\/p>\n at a glance\/<\/p>\n <\/p>\n that so and so is really product of so and so<\/p>\n d growth of that life depends on som cells dying\/ nd others being born<\/p>\n <\/p>\n <\/p>\n Rewriting the excerpt for Ngugi\u2019s The Language in African Theatre <\/em>was liberating. Breaking away from the structure of prose into a text that is more fluid deepened my understanding of the text. I created spaces of silence, so that as I read the text I could reflect on the words for a longer period of time. Using paragraph breaks at \u201c\/out of which comes\u201d into \u201ca human life\u201d emphasized the literal meaning of the text. I could show how life would emerge on paper and through this the natural emergence of humans. Using slashes broke apart ideas that would normally be hard to digest. They also gave additionally pauses.<\/p>\n A change that I appreciate most is the shortening or contracting of words. I change the to \u201cd.\u201d I changed and to \u201cnd\u201d while also cutting off some letters to sharpen the intake and pronunciation of the words to give the reading beats that are easy to land on. It feels pleasant to drop those letters. It\u2019s like getting rid of dead weight, like jumping into freedom and an alternative way of being. I also changed the visually display of the words to a form that could help me see how the author’s ideas spilled into and out of each other.<\/p>\n Moreover, Ngugi\u2019s \u201cThe Language of African Theatre,\u201d echoes many of Fanon\u2019s gender sentiments in the chapter \u201cAlgeria Unveiled\u201d of his A Dying Colonialism. <\/em>Fanon says \u201cThis is why we must watch the parallel progress of this man and this woman, of this couple that brings death to the enemy, life to the revolution (57).\u201d<\/p>\n His words provide a distinct way of organizing the ideas in the Ngugi quote\u00a0. <\/em>Man and woman running parallel to each other is similar to the way their dance is a dance of opposites. And the theme of life that emerges from two opposite individuals is consistent. Fanon highlights the differences between man and woman by touching on their societal roles, but the movement between the two – the curving, diving, shifting, spinning – shows the dynamic conversation that happens between to humans before birth.<\/p>\n","protected":false},"excerpt":{"rendered":" Ngugi\u2019s Decolonizing the Mind \u2014 The Language of African Theatre \u201cDrama is closer to the dialectics of life than poetry and the fiction. Life is movement arising from the inherent contradiction and unity of opposites. Man and woman meet in a united dance of opposites out of which comes a human life separate from […]<\/p>\n","protected":false},"author":14,"featured_media":76,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[2,13,3,10],"class_list":["post-75","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blogpost-1","tag-fanon","tag-movement","tag-ngugi","tag-shange"],"_links":{"self":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/75","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=75"}],"version-history":[{"count":2,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/75\/revisions"}],"predecessor-version":[{"id":122,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/75\/revisions\/122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/media\/76"}],"wp:attachment":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=75"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=75"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=75"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}