In his last play published posthumously the late Francis Imbuga presents the dramatic dialogue of his characters as mind games. In addition to using a narrator, Sikia Macho, to fill us in on the broken politics of Kafira, centring around detention without trial, Imbuga deliberately delays the inciting action, the formation of the Green Party of Kafira which then challenges the hitherto political monolith called the National Party. The candidate of the new party, former detainee Pastor Mgei, wins the election, and thereby dethrones the so-called Chief of Chiefs. In The Green Cross of Kafira, Imbuga, with a renewed sense of urgency, addresses the theme of dictatorship in Africa, and completes his trilogy of the Kafira plays which begins with Betrayal in the city followed by Man of Kafira.

Betrayal in the City, first published in 1976 and 1977, was Kenya's national entry to the Second World Black and African Festival of Arts and Culture in Lagos, Nigeria. The play is an incisive, thought-provoking examination of the problems of independence and freedom in post-colonial African states, where a sizeable number of people feel that their future is either blank or bleak. In the words of Mosese, one of the characters: "It was better while we waited. Now we have nothing to look forward to. We have killed our past and are busy killing our future."--Page 4 of cover

Kafiristan, or "The Land of the Infidels," was a region of eastern Afghanistan where the inhabitants had retained their traditional pagan culture and religion and rejected conversion to Islam. The Káfirs of the Hindu-Kush is a detailed ethnographic account of the Kafirs, written by George Scott Robertson (1852-1916), a British administrator in India. With the approval of the government of India, Robertson made a preliminary visit to Kafiristan in October 1889, and then lived among the Kafirs for almost a year, from October 1890 to September 1891. Robertson describes his journey from Chitral (in present-day Pakistan) to Kafiristan and the difficulties he encountered in traveling about the country and in gaining information about the Kafir culture and religion. The latter, he writes, "is a somewhat low form of idolatry, with an admixture of ancestor-worship and some traces of fire-worship also. The gods and goddesses are numerous, and of varying degrees of importance or popularity." Robertson describes religious practices and ceremonies, the tribal and clan structure of Kafir society, the role of slavery, the different villages in the region, and everyday life and social customs, including dress, diet, festivals, sport, the role of women in society, and much else that he observed first-hand. The book is illustrated with drawings, and it concludes with a large fold-out topographical map, which shows the author's route in Kafiristan. In 1896 the ruler of Afghanistan, Amir 'Abd al-Rahman Khan (reigned 1880-1901), conquered the area and brought it under Afghan control. The Kafirs became Muslims and in 1906 the region was renamed Nuristan, meaning the "Land of Light," a reference to the enlightenment brought by Islam.

"This play tackles the theatrically attractive but ethically complex issue of Christian fundamentalism. Nyamnjoh, as a sociologist is well qualified to explore the social problems and psychological pressures which give rise to the born-again phenomenon, and the strong appeal of fundamentalist religion. The Convert, however is no schematic sociological tract. It deals with the conflicting imperatives in 21st century West Africa, which push ordinary people into extraordinary situations, and provides no easy solutions to the issues raised. Although the play revolves around the Ultimate Church of Christ and the four main characters affected by it, the audience is given a deftly sketched picture of a corrupt world beyond it, lacking in spiritual or community values. [..] The characterization. is remarkable for its avoidance of any obvious protagonist; the audience is allowed no clear character with whom to identify. The four main characters . have both virtues and flaws, each providing insights into ways the consumer-oriented materialism of modern life impacts upon African spirituality and community values." - David Kerr, Professor in Literature and Drama, University of Botswana "At the core of the implicit philosophy in Nyamnjoh's The Convert . is the theatrical manifesto that contemporary society has not only to liberate itself, and its productive powers from 'Pentecostal', freak religions and distortion, it also has to liberate these same productive capacities from their present prostration. There is a deep, engaging humanism that pervades The Convert, but it is a humanism emblematic, to speak analogously, of the Aeschylean variety." - Bate Besong, Africa Review of Books.

This play is a must watch for anyone who is frustrated because of corruption and hopeless about its eradication.

Directors and collaborators assess and comment on the production of plays by West Africa's Nobel Laureate Wole Soyinka and East Africa's most influential author Ngugi wa Thiong'o. Wole Soyinka and Ngugi wa Thiong'o are the pre-eminent playwrights of West and East Africa respectively and their work has been hugely influential across the continent. This volume features directors' experiences of recent productions of their plays, the voices of actors and collaborators who have worked with the playwrights, and also provides a digest of their theatrical output. Contributors provide new readings of Ngugi and Soyinka's classic texts, and astimulating new approach for students of English, Theatre and African studies. The playscript for this volume is a previously unpublished radio play by Wole Soyinka entitled A Rain of Stones, first broadcast onBBC Radio 4 in 2002. Volume Editors: MARTIN BANHAM & FEMI OSOFISAN Guest Editor: KIMANI NJOGU Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

Introduction 1. Recombinant Poetics - Bill Seaman in conversation with Yvonne Spielmann; 2. messboard - Jodi; 3. So everything joyful is mobile... - Matt Locke, Matthew Chalmers and Frances McKee in discussion with Simon Yuill; 4. Remoteness - A Study in Electro-Mist - Judy Spark; 5.

This is a Drama based on contemporary political realities in some African countries, which arrived at liberation through armed struggle. Eritrea (God's land, according to the ancient Egyptians) is an example of a country and society in convulsion because of the abandonment by its leadership, particularly among the ex-combatants, of the lofty principles of democracy, serving the people, equality and solidarity: aspirations that characterized the rhetoric of the revolution. The incidences and personalities in it are, however, purely fictitious although similarities are bound to exist since the principles during the wars of liberation and the abuses thereafter tend to be the same in all undemocratic countries. Poetic license has been used to draw characters from the army, students, political dissidents and political opportunists, the Catholic Church and a nun who escapes rape but is martyred in the process of resistance. This is a drama with elements of suspense, farce, comedy and tragedy, woven in a way that will not fail to move the reader in and outside Eritrea by the in depth understanding of the inside workings and "intelligence" of a contemporary African dictatorship.

This crowning collection brings together seven of Bole Butake's finest plays since 1984, namely: Dance of the Vampires; Family Saga; Lake God; Betrothal Without Libation; And Palm Wine Will Flow; The Rape of Michelle; and Shoes. More than an academic, Butake has distinguished himself as a playwright, unearthing and foregrounding the ills, travails and predicaments of a land and people trapped by the blood-dripping impunities of vampires in power. In his rich repertoire of over ten plays, Butake takes sides with the downtrodden, the wretched of the earth, the deprived and the underdogs. His jabs and jibes, aimed at the rulers, are scathing, at times vitriolic. He has excelled at a stubborn determination to ignore the sinecures, lure and allure of power without responsibility.