Ebrahim Hussein

{{short description|Tanzanian playwright and poet (born 1943)}} {{use dmy dates|date=January 2024}} {{Infobox writer | name = Ebrahim Hussein | birth_place = [[Lindi]], [[Tanganyika Territory]] | birth_date = {{bya|1943}} | occupation = [[Playwright]], [[poet]] | period = 1967 - 1997 | notable_works = Kinjeketile | genre = Swahili theatre and poetry }} '''Ebrahim Hussein''' (born 1943 in [[Lindi]], [[Tanganyika Territory]]) is a [[Tanzanian]] playwright and poet. His first play, ''Kinjeketile'' (1969), written in [[Swahili language|Swahili]], and based on the life of [[Kinjikitile Ngwale]], a leader of the [[Maji Maji Rebellion]], is considered "a landmark of Tanzanian theatre".<ref name="Ricard">{{Cite journal |last=Ricard |first=Alain |year=1992 |title=Ebrahim's Predicament |url=https://www.jstor.org/stable/3819960 |journal=Research in African Literatures |volume=23 |issue=1 |pages=175–178 |jstor=3819960 }}</ref>

Hussein's work stands in a literary tradition expressed in the national language Swahili following the country's independence from the United Kingdom in 1961. Since his works, with the exception of ''Kinjeketile '' and another play, have not been translated, his work has not become well known outside of East Africa.

== Works and importance for Swahili theatre == Hussein was born into a family of Arab descent in Lindi, a town of the [[Swahili coast]] on the Indian Ocean in 1943. He was educated at the Aga Khan Secondary School in [[Dar es Salaam]] and at the University College Dar es Salam of the former University of Eastern Africa, where he studied [[French literature]] and [[theatre arts]]. Hussein's work stands in a theatrical tradition that was created after the country's independence from Great Britain in 1961. The decision for Swahili as the national language of Tanzania in 1964 favoured an independent drama literature that took a middle way between the traditions of the Swahili-speaking peoples of the coast and Zanzibar and the conventions of the European theatre.<ref name=":3">{{citation |author=Alain Ricard |editor-first1=Emmanuel K. |editor-first2=Henry Louis |editor-last1=Akyeampong |editor-last2=Gates |title=Hussein, Ebrahim |date=2011 |periodical=Dictionary of African Biography |url=https://www.oxfordreference.com/display/10.1093/acref/9780195382075.001.0001/acref-9780195382075-e-0865?rskey=O1Zc1x&result=865 |access-date=2024-12-24 |publisher=Oxford University Press |language=en |doi=10.1093/acref/9780195382075.001.0001 |isbn=978-0-19-538207-5|url-access=subscription }}</ref>

Still a student, he wrote his first short plays'' Wakati Ukuta'' (''Time is a Wall'') and ''[[Alikiona]]'' (''Consequences'') in 1967. They focus on tensions between the old and new generations and the social tensions resulting from European [[colonialism]]. Although he accepted elements of the European notions of a "well-made play" in the tradition of [[Aristotle]], like the [[Stage (theatre)#Proscenium stage|picture-frame stage]], he was also interested in traditional African theatrical forms and the expectations of the audience.<ref name=":2">{{cite journal |last=Fiebach |first=Joachim |date=1997 |title=Ebrahim Hussein's Dramaturgy: A Swahili Multiculturalist's Journey in Drama and Theater |journal=Research in African Literatures |publisher=Indiana University Press |volume=28 |issue=4 |pages=19–37 |jstor=3820782}}</ref> Some of his plays, like ''Alikiona'', incorporate elements of ''kichekesho'', which is a comical interlude found in the middle of many ''[[taarab]]'' performances<ref name=":1">{{Cite book |last=Ricard |first=Alain |title=Ebrahim Hussein: Swahili Theatre and Individualism |publisher=Mkuki na Nyota |year=2000 |isbn=9976-973-81-0 |location=Dar es Salaam |pages=19–21}}</ref> and in other plays, Hussein used Swahili traditions of [[storytelling]] (''hadithi'').<ref name=":2" />

In 1969, Hussein wrote his first full-length play, ''Kinjeketile'', based on the life of Kinjikitile Ngwale, a leading figure of the Maji Maji uprising during [[German East Africa|German colonial rule in East Africa]]. The play was directed by the [[East Germany|East German]] literary scholar Joachim Fiebach, who was a visiting professor at the [[University of Dar es Salaam]], and became a model for the new East African theatre. Starting with ''Kinjeketile'', Hussein used elements of [[epic theatre]] as developed by German playwright [[Bertolt Brecht]]. During the following years, ''Kinjeketile'' became a sort of national epic, for the first time expressing anticolonial self-esteem in East African theatre. The text sold over 20,000 copies and was adopted as a textbook for secondary schools in the 1970s''.''<ref name=":2" /> Hussein himself translated ''Kinjeketile'' into English, and published by [[Oxford University Press]] in Dar es Salaam, the play became also known abroad.<ref>{{citation |author=Ebrahim Hussein |title=Kinjeketile |date=1970 |periodical=New Drama from Africa |volume=5 |location=Dar es Salaam |publisher=Oxford University Press |isbn=9780196440866}}</ref>

During the early 1970s, Hussein studied at the [[Humboldt University of Berlin|Humboldt University]] in [[East Berlin]] and wrote his PhD dissertation "On the development of theatre in East Africa". Other plays include ''[[Mashetani]]'' (1971), an overtly political play, ''Jogoo Kijijini'' (1976), an experiment in dramatic performance, and ''Arusi'' (1980), in which Hussein's main character expresses disillusionment with the Tanzanian socialist practice of ''[[ujamaa]]''. Hussein also wrote poetry in [[free verse]], a new poetical form for [[Swahili literature]] that was also widely read in the schools and universities of East Africa. His works written in a poetic and, at the same time, modern language became a model for the socialist cultural policy of Tanzania, even if they contained ambiguous heroes, who sometimes doubt their actions.<ref name=":3" /> On the other hand, the "poetic, elliptic prose" of his later plays has been found difficult to appreciate.<ref name="Ricard" />

In 1975 he began teaching theatre studies at the [[University of Dar es Salaam|University of Daresalaam]] and temporarily directed their theatre group. Until his departure in 1986, he taught as a professor of theatre studies at this university. Since then, he has led a life without many contacts in his house in the district of Kariakoo.<ref name=":3" />

== Works == {{col-begin}} {{col-break|width=50%}}

=== Plays === * ''Kinjeketile'', 1969 * ''Michezo ya kuigiza'', 1970 * ''[[Mashetani]]'', 1971 * ''Jogoo Kijijini'' and ''Ngao ya Jadi'', 1976 * ''Arusi'', 1980 * ''Jambo la maana'', 1982 * ''[[At the Edge of Thim|Kwenye ukingo wa Thim]]'', English translation ''At the edge of Thim'', 1988 * ''Ujamaa'' {{col-break}}

=== Short plays === * ''Wakati Ukuta (Time is a Wall)'', 1967 * ''[[Alikiona]]'' (''Consequences''), 1969 {{col-end}}

== ''Ngao ya Jadi'' == Hussein's [[Monodrama Theater|play for one actor]], ''Ngao ya Judi'', tells the story of Sesota, a serpent, that terrorizes a village, so a young peasant is called upon to defeat Sesota. The peasant succeeds and the village rejoices. Over time, the evil the serpent brought grows again, causing the village to become more and more depraved. Eventually, Sesota returns, with no-one to challenge him.

This text is a retelling of a Swahili folk story in which Sesota is defeated by being trapped in a pot rather than killed and who eventually returns. In Hussein's version, Sesota represents [[colonialism]] that the "peasant" desperately tries to fight. Hussein speaks about how the remnants of colonialism still remain and that any amount of Western influence on African culture brings back that evil. Through this, the retelling also shows that there is no "good vs. evil" like in traditional stories, but that the world is rather morally grey. One significant moment is when the village is celebrating after Sesota's death; names of a variety of famous African writers and artists are listed. Here, Hussein seems to be criticizing his fellow artists, saying that their work only comes during moments of joy, rather than being used to combat oppression.<ref>Fiebach 1997, pp. 33–34</ref>

== Reception == Not least because of his political statement about the history of the Maji-Maji uprising, Hussein's play ''Kinjeketile'' became one of the standard Swahili texts in Tanzanian and [[Kenya]]n schools and was reprinted several times.

German literary scholar Joachim Fiebach published a German translation of ''Kinjeketile'' in his anthology of African plays in 1974.<ref>Joachim Fiebach, ed., ''Stücke Afrikas'', Henschel Verlag, Berlin, 1974</ref> In his study of Hussein's work, he pointed out that the play's anti-colonial message of the conflict between the colonised and the colonisers had overshadowed a second more general meaning: According to Fiebach's analysis, the colonised Africans are not glorified, but lacking strategic vision, mired in trivial disputes and impeded by personal hostilities.<ref name=":2" /> Referring to Hussein's theatrical style, Fiebach described it as a “[[dramaturgy]] that seems to merge or mix adopted European models of an intimate theatre with non-Aristotelic and completely unique techniques.”<ref>Fiebach 1997, p. 26</ref>

In his study on Hussein's importance for Swahili theatre, French scholar of [[African literature]] Alain Ricard wrote, "Ebrahim Hussein is the best known Swahili playwright, and Tanzania's most complex literary personality. Known first and foremost as a dramatist, he is also a theorist whose dissertation on the theatre in Tanzania remains the standard reference work. His plays are a corpus of theatrical material with great significance to an understanding of Tanzania's political and social development in relation to the Swahili/Islamic coastal culture, of which he is a part."<ref name=":1" /> Referring to the absence of Hussein's international recognition and the predicament of African literature written in African languages, Ricard wrote:<ref name="Ricard" />

{{Blockquote|text=A truly innovative and creative writer, a perceptive thinker, a gifted poet, he has often suffered neglect precisely because he has remained steadfastly committed to Kiswahili. His predicament illustrates the double-bind situation that menaces African literature in African languages. An international reputation is only possible when African-language works are translated into European languages, but few African-language works are translated.|author=Alain Ricard|title=Ebrahim's predicament|source=p. 178}}

While Hussein focused on research at the Humboldt University in East Berlin for his PhD thesis from 1970 to 1973, the first scholarly study of his work, ''Drama and National Culture: a Marxist Study of Ebrahim Hussein'',<ref>{{Cite thesis |last=Philipson |first=Robert |date=1989 |title=Drama and National Culture: a Marxist Study of Ebrahim Hussein |journal=Dissertation |via=PhilPapers}}</ref> a PhD thesis was published in 1989 by the US-American literary scholar Robert M. Philipson. In his 1999 review of Alain Ricard's study on Hussein, Philipson wrote: “Ebrahim Hussein is a difficult case. After [[Wole Soyinka]] and [[Athol Fugard]], he is the most interesting and talented dramatist that Africa has produced, but his name is rarely mentioned in European studies on African literature. [...] The reason for this is simple: Hussein writes in Swahili, and his dramatic work, with the exception of Kinjeketile, has not been translated into a Western language.”<ref>{{citation|author=Robert Philipson |date=1999 |doi=10.1353/ral.2005.0048 |issn=1527-2044 |issue=4 |language=en |pages=226–227 |periodical=Research in African Literatures |title=Ebrahim Hussein: Theatre swahili et nationalisme tanzanien (review) |volume=30}}</ref>

== Ebrahim Hussein Poetry Prize == The Ebrahim Hussein Poetry prize is an honour awarded annually since 2014 to the winner of the poetry contest under the same name. The contest was created by Safarani Seushi in line with the wish of the late Canadian filmmaker, Gerald Belkin (1940–2012). Belkin was in the process of creating this award, to be named after "his friend and renowned filmmaker and playwright, Professor Ebrahim Hussein", when he died. His goal in establishing the award and prize fund was to foster the careers of Swahili literary authors.<ref name=":0">{{Cite news |date=2018-10-16 |title=The Ebrahim Hussein Poetry Prize |url=https://www.thecitizen.co.tz/magazine/success/The-Ebrahim-Hussein-Poetry-Prize/1843788-4808448-h8q2ki/index.html |url-status=live |access-date=2019-02-25 |website=The Citizen |archive-url=https://web.archive.org/web/20181017235015/http://www.thecitizen.co.tz/magazine/success/The-Ebrahim-Hussein-Poetry-Prize/1843788-4808448-h8q2ki/index.html |archive-date=2018-10-17 }}</ref> The selected poems were published as ''Diwani ya tunzo ya ushairi ya Ebrahim Hussein'' (''Anthology of Ebrahim Hussein Poetry Prize'') in 2017.<ref>{{Cite book |last= |first= |title=Diwani ya tuzo ya ushairi ya Ebrahim Hussein. Juzuu la pili. Juzuu la pili. |date=2017 |publisher=Mkuki na Nyota Publishers |isbn=978-9987-08-326-8 |location=Dar es Salaam |oclc=1057556367}}</ref>

== Ebrahim Hussein Fellowship == The Ebrahim Hussein Endowment for research in African expressive cultures was established in the College of Letters and Science at the [[University of Wisconsin–Madison]] in 2003, thanks to the generosity of Robert M. Philipson, an alumnus of the college (PhD, 1989). The college awards up to $7,500 each year to one or more full-time graduate students in there to carry out research on African expressive cultures and/or archives outside of the United States.<ref>{{Cite web |publisher=University of Wisconsin, African Cultural Studies Dept |title=Ebrahim Hussein Fellowship |url=https://african.wisc.edu/graduate-programs/ebrahim-hussein-fellowship/ |url-status=live |access-date=2020-09-11 |archive-url=https://web.archive.org/web/20200403164206/https://african.wisc.edu/graduate-programs/ebrahim-hussein-fellowship/ |archive-date=2020-04-03 }}</ref> Winners of the fellowship include Vincent Ogoti, a Kenyan playwright.<ref>{{Cite press release |date=2020-04-17 |title=Two Students Awarded Ebrahim Hussein Fellowships |url=https://african.wisc.edu/2020/04/17/two-students-awarded-ebrahim-hussein-fellowships/ |access-date=2021-11-29 |publisher=University of Wisconsin, African Cultural Studies Dept}}</ref>

== References == {{Reflist}}

== Further reading ==

* {{cite web|access-date=2024-12-23 |author=John Githongo |date=2023-05-08 |language=en-US |title=Prof. Ebrahim Hussein: Kiswahili, Poetry and Freedom - The Elephant |url=https://www.theelephant.info/analysis/2023/05/08/prof-ebrahim-hussein-kiswahili-poetry-and-freedom/}} * S. O. Solanke. 2013. “Deploying Myths through Facts and Fictions in the Struggle for Tanzanians’ National Soul in Ebrahim N. Hussein's Kinjeketile.” Venec 4 (1): 106–21.{{OCLC|oclc=8539661746}} * [https://oapub.org/lit/index.php/EJLLL/article/view/39 Affiah, Uwem, und Patience George Eni. Drama and the Revolutionary Archetype: Ebrahim Hussein’s Kinjeketile and Wa Thiong’o And Mugo’s The Trial Of Dedan Kimathi. European Journal of Literature, Language and Linguistics Studies 2.3 (2018).] * [https://core.ac.uk/download/pdf/234674308.pdf Mwaifuge, Eliah S. ''German Colonialism, Memory and Ebrahim Hussein’s Kinjeketile.'' 2014, (pdf)] * Kuloba, Agnes N. ''Translation inadequecies in the English version of Kinjeketile.'' Diss. University of Nairobi, 2013. * {{citation|author=Alamin M. Mazrui |date=2007 |isbn=978-0-89680-252-0 |language=en |pages=34–35 |publisher=Ohio University Press |title=Swahili Beyond the Boundaries: Literature, Language, and Identity |url=https://books.google.com/books?id=o063rsBCIvMC&dq=Ebrahim+Hussein&pg=PA34}} * {{citation|author=Martin Banham, Errol Hill, George Woodyard |date=1994-08-04 |isbn=978-0-521-41139-4 |language=en |pages=115–116 |publisher=Cambridge University Press |title=The Cambridge Guide to African and Caribbean Theatre |url=https://books.google.com/books?id=qtlUwQAvKxoC&dq=Ebrahim+Hussein&pg=PA6}} * {{Cite journal|last=Lihamba|first=Amandina|date=1992|title=Popular theatre in Africa|journal=Voices from Africa|language=English|issue=4|pages=53–64|oclc=1248428484}} * {{Cite thesis |title=Politics and theatre in Tanzania after the Arusha declaration, 1967–1984 |date=1985 |place=Leeds |language=English |first=Amandina |last=Lihamba |oclc = 1184537252}} * {{Cite book|last=Mlama|first=Penina Muhando|title=Tanzania's cultural policy and its implications for the contribution of the arts to socialist development|date=1985|publisher=Utafiti|location=Dar es Salaam|language=English|oclc=61749373}}

== External links ==

* {{WorldCat|oclc=1358840656}} * [https://www.msomibora.com/2020/10/kinjeketile-play.html Kinjeketile – English translation and analysis]

{{DEFAULTSORT:Hussein, Ebrahim}} [[Category:1943 births]] [[Category:Swahili-language writers]] [[Category:Tanzanian dramatists and playwrights]] [[Category:Living people]] [[Category:Tanzanian poets]]