Ebrahim Hussein

Ebrahim Hussein (an haife shi a shekara ta 1943 a Lindi, Yankin Tanganyika) marubucin wasan kwaikwayo ne kuma mawaki na Tanzania. Wasansa na farko, Kinjeketile (1969), wanda aka rubuta a cikin Swahili, kuma ya dogara da rayuwar Kinjikitile Ngwale, shugaban Maji Maji Rebellion, an dauke shi "a landmark of Tanzanian theatre".[1]

Aikin Hussein ya tsaya a cikin al'adar adabi da aka bayyana a cikin harshen Swahili na kasa bayan da kasar ta samu 'yancin kai daga Birtaniya a shekarar 1961. Tun da ayyukansa, ban da Kinjeketile da wani wasan kwaikwayo, ba a fassara su ba, aikinsa bai zama sananne a wajen gabashin Afirka ba.

 Ayyuka da mahimmanci ga wasan kwaikwayo na Swahili 
An haifi Hussein a cikin dangin Larabawa a Lindi, wani gari na gabar tekun Swahili a kan tekun Indiya a 1943. Ya yi karatu a makarantar sakandare ta Aga Khan da ke Dar es Salaam da kuma Kwalejin Jami'ar Dar es Salam na tsohuwar Jami'ar Gabashin Afirka, inda ya karanta adabin Faransanci da wasan kwaikwayo . Ayyukan Hussein sun tsaya a cikin al'adar wasan kwaikwayo da aka kirkiro bayan kasar ta sami 'yancin kai daga Birtaniya a 1961. Shawarar Swahili a matsayin harshen kasa na Tanzaniya a 1964 ya ba da fifiko ga adabin wasan kwaikwayo mai zaman kansa wanda ya dauki tsaka-tsaki tsakanin al'adun mutanen Swahili na bakin teku da Zanzibar da kuma taron kasashen Turai. 

Har yanzu yana dalibi, ya rubuta gajeriyar wasan kwaikwayo na farko Wakati Ukuta ( Lokaci bango ne ) da Alikiona ( Sakamakon ) a cikin 1967. Suna mai da hankali kan tashe-tashen hankula tsakanin tsofaffi da sababbin al'ummomi da kuma tashe-tashen hankulan zamantakewar da suka samo asali daga Turawan mulkin mallaka . Ko da yake ya yarda da abubuwa na ra'ayoyin Turai na "wasan kwaikwayo da aka yi da kyau" a cikin al'adar Aristotle, kamar mataki na hoto, ya kuma sha'awar siffofin wasan kwaikwayo na gargajiya na Afirka da kuma tsammanin masu sauraro.  Wasu daga cikin wasan kwaikwayo, kamar Alikiona, sun haɗa da abubuwa na kichekesho, wanda shine wasan kwaikwayo na ban dariya da aka samu a tsakiyar yawancin wasan kwaikwayo na tarab  kuma a cikin wasu wasan kwaikwayo, Hussein ya yi amfani da hadisai na Swahili na ba da labari ( hadisi ). 

A shekara ta 1969, Hussein ya rubuta wasansa mai cikakken tsayi na farko, Kinjeketile, bisa ga rayuwar Kinjikitile Ngwale, jigo a boren Maji Maji a lokacin mulkin mallaka na Jamus a gabashin Afirka . Masanin adabi na Gabashin Jamus Joachim Fiebach, wanda malami ne mai ziyara a Jami'ar Dar es Salaam ne ya jagoranci wasan, kuma ya zama abin koyi ga sabon wasan kwaikwayo na gabashin Afirka. Fara da Kinjeketile, Hussein ya yi amfani da abubuwan wasan kwaikwayo na almara kamar yadda marubucin wasan kwaikwayo na Jamus Bertolt Brecht ya haɓaka. A cikin shekaru masu zuwa, Kinjeketile ya zama wani nau'i na almara na kasa, a karon farko yana nuna girman kai na mulkin mallaka a cikin wasan kwaikwayo na gabashin Afirka. Rubutun ya sayar da fiye da kwafi 20,000 kuma an karbe shi azaman littafin koyarwa na makarantun sakandare a cikin 1970s . Fiebach, Joachim (1997). "Ebrahim Hussein's Dramaturgy: A Swahili Multiculturalist's Journey in Drama and Theater". Research in African Literatures. 28 (4). Indiana University Press: 19–37. JSTOR 3820782. Hussein da kansa ya fassara Kinjeketile zuwa Turanci, kuma Jami'ar Oxford Press ta buga a Dar es Salaam, wasan kwaikwayon ya zama sananne a waje. 

A farkon shekarun 1970, Hussein ya yi karatu a Jami'ar Humboldt da ke gabashin Berlin kuma ya rubuta takardar shaidar digirinsa mai suna "Akan ci gaban wasan kwaikwayo a gabashin Afirka". Sauran wasan kwaikwayo sun haɗa da Mashetani (1971), wasan siyasa a fili, Jogoo Kijijini (1976), gwaji na wasan kwaikwayo, da Arusi (1980), wanda babban jigon Hussein ya nuna rashin jin daɗi ga al'adun gurguzu na Tanzaniya na ujamaa . Hussein ya kuma rubuta wakoki cikin baitu kyauta, sabon salo na wakoki na adabin Swahili wanda kuma ake karantawa a makarantu da jami'o'in gabashin Afirka. Ayyukansa da aka rubuta a cikin mawaƙa, kuma, a lokaci guda, harshen zamani ya zama abin koyi ga manufofin al'adun gurguzu na Tanzaniya, ko da sun ƙunshi jarumai marasa ma'ana, waɗanda wani lokaci suna shakkar ayyukansu.  A daya bangaren kuma, "mawakiyar wakoki, elliptic prose" na wasan kwaikwayonsa na baya ya yi wuya a yaba. 

A shekarar 1975 ya fara koyar da karatun wasan kwaikwayo a jami'ar Daresalaam kuma ya jagoranci kungiyarsu ta wasan kwaikwayo na dan lokaci. Har ya tashi a 1986, ya koyar a matsayin farfesa a fannin wasan kwaikwayo a wannan jami'a. Tun daga wannan lokacin, ya yi rayuwa ba tare da abokan hulɗa da yawa ba a gidansa da ke gundumar Kariakoo. 

 Ayyuka 


 Ngao ya Jadi 
Wasan Hussein na wani ɗan wasan kwaikwayo, Ngao ya Judi, ya ba da labarin Sesota, maciji, wanda ya tsoratar da wani ƙauye, don haka an kira wani matashi baƙar fata ya ci Sesota. Baƙauye ya yi nasara kuma ƙauyen ya yi murna. Da shigewar lokaci, sharrin da maciji ya kawo ya sake girma, wanda hakan ya sa ƙauyen ya ƙara lalacewa. A ƙarshe, Sesota ya dawo, ba tare da wanda zai ƙalubalanci shi ba.

Wannan rubutun sake ba da labarin wani labari ne na Swahili wanda aka ci Sesota ta hanyar makale a cikin tukunya maimakon a kashe shi kuma wanda a ƙarshe ya dawo. A cikin sigar Hussein, Sesota yana wakiltar mulkin mallaka wanda "baƙaƙe" ke ƙoƙarin yin yaƙi. Hussein yayi magana game da yadda ragowar 'yan mulkin mallaka ke ci gaba da kasancewa da kuma cewa duk wani tasirin da yammacin Turai ke da shi kan al'adun Afirka yana dawo da wannan mugunta. Ta wannan, sake maimaitawa ya nuna cewa babu "mai kyau da mugunta" kamar a cikin labarun gargajiya, amma cewa duniya tana da launin toka. Wani muhimmin lokaci shine lokacin da ƙauyen ke bikin bayan mutuwar Sesota; An jera sunayen shahararrun marubuta da masu fasaha na Afirka iri-iri. A nan, kamar dai Hussein yana sukar ’yan uwansa mawakan, yana mai cewa aikinsu na zuwa ne kawai a lokacin farin ciki, maimakon a yi amfani da su wajen yakar zalunci. 

 liyafar 
Ba don komai ba saboda kalamansa na siyasa game da tarihin tawayen Maji-Maji, wasan kwaikwayo na Hussein Kinjeketile ya zama ɗaya daga cikin daidaitattun rubutun Swahili a makarantun Tanzaniya da Kenya kuma an sake buga shi sau da yawa.

Masanin adabin Jamus Joachim Fiebach ya wallafa fassarar Jamusanci na Kinjeketile a cikin tarihin wasan kwaikwayo na Afirka a cikin 1974.  A cikin nazarin aikin Hussein, ya nuna cewa saƙon wasan kwaikwayo na adawa da mulkin mallaka na rikici tsakanin masu mulkin mallaka da masu mulkin mallaka ya rufe ma'anar ma'ana ta biyu: A cewar Fiebach, masu mulkin mallaka ba su da ma'ana. hangen nesa, shiga cikin rigingimu marasa kan gado da tashe tashen hankula. Fiebach, Joachim (1997). "Ebrahim Hussein's Dramaturgy: A Swahili Multiculturalist's Journey in Drama and Theater". Research in African Literatures. 28 (4). Indiana University Press: 19–37. JSTOR 3820782. Dangane da salon wasan kwaikwayo na Hussein, Fiebach ya bayyana shi a matsayin " wasan kwaikwayo wanda da alama yana haɗawa ko haɗawa da ƙirar Turai da aka ɗauka na gidan wasan kwaikwayo tare da waɗanda ba na Aristotelic ba kuma gabaɗaya na musamman." 

A cikin bincikensa game da mahimmancin Hussein ga wasan kwaikwayo na Swahili, masanin Faransanci na adabin Afirka Alain Ricard ya rubuta, "Ibrahim Hussein shine sanannen marubucin wasan kwaikwayo na Swahili, kuma mafi girman halin adabi na Tanzaniya. An san shi da farko a matsayin mai wasan kwaikwayo, shi ma masanin ra'ayi ne wanda karatunsa a kan wasan kwaikwayo a Tanzaniya ya kasance babban ma'anar wasan kwaikwayo tare da babban ma'auni mai mahimmanci na kayan aiki. fahimtar ci gaban siyasa da zamantakewar Tanzaniya dangane da al'adun bakin teku na Swahili/Musulunci, wanda yake cikinsa."  A game da rashin amincewar Hussein a duniya da kuma halin da ake ciki na adabin Afirka da aka rubuta cikin harsunan Afirka, Ricard ya rubuta: Ricard, Alain (1992). "Ebrahim's Predicament". Research in African Literatures. 23 (1): 175–178. JSTOR 3819960.

 Manazarta 

Rukuni:Rayayyun mutane
Rukuni:Haifaffun 1943
Rukuni:Shafuka masu fassarorin da ba'a duba ba