The intricate relationship between freedom of expression and governance has long been a point of tension in Kenya. As a country emerging from a history of colonial rule, where censorship and repression were commonly used as tools to maintain control, the new Constitution of Kenya, 2010 offers a radical departure by guaranteeing its citizens the right to freedom of expression, as outlined in Article 33.
This article, while offering significant protections for artistic and cultural expression, also establishes a framework within which expression is limited to ensure national security, public order, and the protection of the rights of others. Yet, despite these legal protections, the tension between freedom of speech and state control remains unresolved, particularly in the educational and artistic sectors where state interests in maintaining political stability often clash with the growing appetite for political critique, especially from younger generations.
One notable case that underscores this tension occurred in 2019, when Echoes of War, a play scripted by Cleophas Malala and performed by Butere Girls High School, stirred public debate. The play, which addressed themes of war, corruption, and political failure, was met with mixed reactions. On the one hand, it was praised for its bold and courageous depiction of the societal issues affecting ordinary Kenyans. On the other hand, it was criticized by political and educational authorities who felt that such themes were inappropriate for school performances and could incite unrest or provoke negative reactions from the government. The controversy surrounding the play underscores the complex and often contradictory nature of freedom of expression in Kenya, particularly in relation to artistic productions that critique or challenge the political status quo.
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The reaction to Echoes of War is indicative of a broader cultural and political environment in Kenya, where freedom of artistic expression, particularly in the form of theatre, often finds itself at odds with state interests. The play’s depiction of corrupt leaders, military generals indifferent to the suffering of their citizens, and the consequences of war as a result of mismanagement of power was perceived as a direct critique of the Kenyan government. This is not an isolated incident but rather part of a larger historical pattern in Kenya, where art and culture have been used both as tools of resistance and as targets of state repression.
Kenya’s post-independence history is marked by a long-standing struggle for freedom of expression, particularly in the context of political and artistic expression. Under the regime of Jomo Kenyatta, the first president of Kenya, and later under Daniel arap Moi, there was a systematic effort to suppress critical voices, particularly those of writers, artists, and intellectuals who dared to critique the government.
The infamous case of Ngũgĩ wa Thiong’o, one of Kenya’s most influential writers, is a prime example of this. In the early 1970s, Ngũgĩ was arrested for his involvement in the production of Ngaahika Ndeenda, a play that was critical of the government’s policies and treatment of ordinary citizens. The play, which was performed at Kamĩrĩthũ, was banned, and Ngũgĩ was detained without trial for several months, a clear indication of the dangers faced by those who sought to use art and literature to challenge the political establishment.
Despite these historical challenges, Kenya’s post-2010 political environment, shaped by the Constitution of Kenya, which enshrines the right to freedom of expression, has witnessed a renewed interest in artistic and cultural critique, particularly through theatre. However, this freedom has not come without its limitations. As seen with the Echoes of War controversy, the state continues to be wary of artistic expressions that critique government policy or portray the government in a negative light. The play, though performed by high school students, was viewed by some as a dangerous form of political expression, as it raised uncomfortable questions about governance, corruption, and the misuse of power.
This reaction reveals a deeper concern about the nature of youth activism in Kenya. The government’s hesitance to embrace performances like Echoes of War highlights a broader fear of political mobilization among the youth. Theatre, by its very nature, is a powerful medium for challenging the status quo.
In Kenya, where the youth make up a significant proportion of the population, there is growing concern that the younger generation may use art as a tool to question established political systems and advocate for social change. This fear is not unwarranted, as the Kenyan youth have historically played a pivotal role in driving political and social change, from the days of the multi-party struggle to the advocacy for a new constitution in 2010.
One of the central themes explored in Echoes of War is the idea of bad governance, a subject that resonates deeply within the Kenyan political context. Corruption, nepotism, and mismanagement of resources have long been recognized as major challenges to Kenya’s development and democratic consolidation. From the early days of independence to the present, the Kenyan political elite has been accused of prioritizing personal and partisan interests over the welfare of the country’s citizens. This phenomenon has been extensively documented by Kenyan writers, scholars, and political analysts, who have critiqued the government’s failure to address the needs of the people and its tendency to perpetuate a system of inequality and marginalization.
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Writers like Bethwel Ogot, Pauline Kea, and Ngũgĩ wa Thiong’o have long used their work to expose the inherent contradictions of Kenya’s political system and to critique the culture of impunity that characterizes governance in the country. Ogot’s works, for instance, have often focused on the failures of leadership and the consequences of poor governance, particularly in the post-independence era. His historical fiction often highlights the tensions between the ideals of independence and the realities of political power, illustrating how the dreams of liberation were often overshadowed by the greed and corruption of those in power.
Similarly, Pauline Kea has explored the role of women in Kenyan society and how bad governance exacerbates their marginalization. Through her works, she has critiqued the ways in which corrupt political systems perpetuate gender inequality and prevent women from accessing opportunities for empowerment. Her works, like those of Ngũgĩ and Ogot, offer a scathing critique of the political elite and their failure to address the needs of the majority of Kenyans, especially the marginalized and disadvantaged communities.
Ngũgĩ wa Thiong’o, in his seminal work Decolonising the Mind, has written extensively on the role of language and culture in shaping political power. His critique of the Kenyan government, particularly during the Moi era, is not just an attack on the policies of the regime but also on the very structure of the nation-state. Ngũgĩ’s emphasis on the need for cultural and political decolonization highlights the ways in which the post-colonial state continues to be shaped by colonial legacies and how those legacies manifest in practices of governance that prioritize the interests of a small political elite over the broader needs of the people.
In the context of Echoes of War, these writers’ themes are brought to life on stage through the portrayal of characters who are victims of political and military corruption. The characters in the play are caught in a system of violence and exploitation, struggling to survive in a world where those in power are indifferent to their suffering. The play critiques the militarization of politics in Kenya and the failure of the state to address the root causes of violence, poverty, and inequality. It serves as a powerful commentary on the ways in which bad governance perpetuates cycles of conflict and suffering, particularly in marginalized communities.
The response to Echoes of War can be seen as part of a broader struggle in Kenya to assert the right to free expression in the face of state repression. While the Kenyan government has made strides in protecting freedom of speech and expression through the Constitution, the reality on the ground is more complicated. The state continues to exercise control over what is deemed appropriate for public consumption, especially when it comes to artistic performances that critique or challenge political authority. The controversy surrounding Echoes of War reveals the tension between the legal protections offered by the Constitution and the political realities of censorship and control.
In examining the role of theatre in shaping public discourse and challenging the status quo, it is clear that the arts have the potential to play a transformative role in Kenya’s political landscape. Theatre, as a form of public dialogue, provides a space for individuals to reflect on their societal conditions, engage with critical issues, and explore alternative futures. As Kenya continues to grapple with issues of governance, corruption, and social justice, the role of theatre and other artistic forms in pushing for accountability and reform becomes increasingly important.
However, to fully realize the potential of theatre as a tool for social and political change, it is essential that the Kenyan government and society at large embrace the principle of freedom of expression as a core value. This involves not only protecting the right to express dissent but also creating a cultural environment that values critique and welcomes diverse voices. Theatre, like any other form of art, has the power to shape public opinion and influence political decision-making, but this can only happen if artists are free to express themselves without fear of censorship or reprisal.
In conclusion, the case of Echoes of War and its impact on Kenyan theatre offers valuable insights into the ongoing struggle for freedom of expression in the country. While the Constitution of Kenya, 2010 guarantees the right to artistic and cultural expression, the state’s reaction to performances that critique governance and expose corruption reveals the limitations of this freedom in practice. As Kenya moves forward, it must ensure that freedom of expression is not only protected in law but also respected in practice, allowing artists and citizens to engage in meaningful dialogue about the country’s future. By embracing the power of theatre and other forms of artistic expression, Kenya can continue to foster a culture of accountability, civic engagement, and democratic participation, ensuring that the voices of its people are heard and valued.
The challenge of balancing freedom of expression with the state’s interests in national security and public order has always been a point of contention in Kenyan legal and political history. The Constitution of Kenya guarantees freedom of expression under Article 33, but this right is subject to limitations that include national security, public order, and the rights of others. This tension is evident in the reactions to artistic works that critique the government or expose societal injustices, as seen in the controversial reception of Echoes of War by Butere Girls. The play, which explores themes of war, corruption, and misgovernance, touches on issues deeply embedded in Kenya’s history, and through its compelling narrative, it exposes the consequences of poor leadership.
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In Kenya, the debate over freedom of expression often overlaps with concerns over national security. The government has historically been sensitive to any form of dissent, particularly from the youth or from marginalized communities, for fear that it could spark unrest or challenge its authority. The political climate in Kenya, especially after the 2007/2008 post-election violence, has made the government more cautious about any narrative that could be seen as inciting violence or challenging the legitimacy of the ruling elite. This has led to an environment where expressions of discontent, particularly those through the arts, are often scrutinized or censored. The controversy surrounding Echoes of War exemplifies how the freedom to critique the government is continually tested in Kenya, even in the context of a constitutional framework designed to protect individual liberties.
Despite the legal guarantees of freedom of expression, Kenya’s experience with censorship has shaped a complex landscape where the line between acceptable and unacceptable forms of protest is often blurred. The Kenya Film and Classification Board (KFCB), for example, has the power to classify and ban films or plays that it deems subversive or harmful to the public. This regulatory framework serves as a tool to control content that the government perceives as politically or socially sensitive. In the case of Echoes of War, the play’s portrayal of corrupt politicians and military figures raised concerns about the political ramifications of the message it conveyed. The KFCB’s stance on such works often reflects the broader political climate, where art that critiques governance is frequently met with resistance from political authorities who fear the potential consequences of a mobilized public.
The significance of theatre in challenging political power cannot be overstated. Theatre has long been a medium for political expression and social critique, particularly in post-colonial societies like Kenya. The tradition of using theatre to comment on societal issues can be traced back to the early days of independence when playwrights and artists began to examine the disconnect between the promises of independence and the realities of post-colonial governance.
Plays such as Ngũgĩ wa Thiong’o’s “Ngaahika Ndeenda” and Mwendwa Mutonya’s “Kichwa cha Mchoro” used the stage to expose the inequalities and injustices that persisted in the newly independent nation. These works were not only a form of artistic expression but also a powerful critique of the neo-colonial structures of power that continued to oppress the masses.
In this context, Echoes of War can be viewed as part of a broader tradition of political theatre in Kenya. Cleophas Malala, the playwright behind Echoes of War, uses the stage as a platform to address critical issues facing the country, including war, corruption, and the abuse of power. Malala’s work, like that of Ngũgĩ and other Kenyan playwrights, serves as both a reflection of societal ills and a call for action. Through the characters’ struggles and the unfolding narrative, Malala critiques the government’s role in perpetuating war and conflict, especially in relation to its handling of national resources and its treatment of ordinary citizens.
However, as demonstrated by the reception of Echoes of War, the political implications of such artistic expressions are not always welcomed by those in power. The Kenyan government, despite its commitment to democracy and the rule of law, has often been reluctant to embrace dissenting voices, particularly when these voices challenge the narrative of political stability or question the actions of the ruling elite. The fear of alienating political supporters or inciting unrest has led to a tendency to suppress or ignore works that expose the flaws within the system.
This is where the role of Kenyan writers and intellectuals becomes crucial. The works of Bethwel Ogot, Pauline Kea, and Ngũgĩ wa Thiong’o offer a wealth of insight into the relationship between governance and the people, especially in the context of bad governance. Ogot’s historical novels and his explorations of post-colonial Kenya highlight the failures of political leadership and the impact of corruption on the everyday lives of citizens. In books such as
The Kenyan Revolution and The Black Bird, Ogot explores the ways in which bad governance has shaped the nation’s political landscape. His works emphasize the disconnect between the ruling class and the general populace, shedding light on the socio-economic inequalities that persist in post-colonial Kenya.
Similarly, Pauline Kea, through her exploration of women’s roles in Kenyan society, critiques the ways in which political systems perpetuate gender inequalities. Kea’s works challenge the patriarchal structures that limit women’s political and social mobility, highlighting the need for more inclusive governance that addresses the needs of marginalized groups. Her critique is not only of the political establishment but also of the cultural norms that reinforce discrimination against women, particularly in the rural areas where traditional practices often outweigh the ideals of equality espoused in the Constitution.
Ngũgĩ wa Thiong’o’s literary contributions remain perhaps the most prominent in the Kenyan intellectual landscape. His work, particularly “Petals of Blood” and “Devil on the Cross”, sharply critiques the neocolonial elite that continues to perpetuate injustice and inequality in Kenya. Ngũgĩ’s focus on the link between capitalism and corruption is central to understanding the dynamics of power and oppression in the country. Through his analysis, he shows how economic exploitation and political control are intimately connected, and how those in power use both the economy and the military to maintain their dominance.
Echoes of War, in its portrayal of war-torn communities and the abuse of power by the state, echoes many of the themes that Ngũgĩ, Ogot, and Kea have explored in their works. The play’s focus on the consequences of political mismanagement and corruption is a direct commentary on the failures of post-independence leadership in Kenya.
The characters in Echoes of War are trapped in a system that benefits only a few, while the majority suffer from poverty, violence, and exploitation. This resonates with the experiences of many Kenyans who feel that their voices are not heard, and their concerns are disregarded by the political elite.
At the core of Echoes of War is the critique of military dictatorship and state-sanctioned violence. The play explores how leaders, in their quest for power, manipulate the military and security forces to suppress dissent and maintain control. This is a theme that runs through many of the works of Kenyan writers and playwrights, who have used the stage to expose the ways in which political violence is used to silence opposition and maintain a facade of stability.
The portrayal of military figures in Echoes of War serves as a symbolic representation of the militarization of politics, which has been a defining feature of many African nations, including Kenya. From the Mau Mau Uprising to the post-independence military interventions, the use of the military to enforce political will has been a central element of governance in Kenya. The play critiques the ways in which the military is used not as a force for national security but as a tool for political repression.
As the play unfolds, the audience is forced to confront uncomfortable truths about the nature of political power in Kenya. The soldiers, generals, and political figures depicted in Echoes of War are not just characters in a fictional narrative; they represent the realities of governance in a country where power is often used to protect the interests of the few at the expense of the many. This critique of bad governance is not just about the specific individuals in power but about the systemic issues that allow such abuses to persist.
In conclusion, the controversy surrounding Echoes of War highlights the ongoing struggle for freedom of expression in Kenya, particularly in the realm of political art. While the Constitution of Kenya, 2010 guarantees freedom of expression, the reality of artistic freedom in Kenya is often shaped by the tension between them.
By Omwansa Onduko
Law student Kabarak University 2nd year
enockomwansa307@gmail.com ,0748492574
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