OPINION: Kenya’s generational war on free speech and art as resistance

The state’s suppression of Echoes of War—a play by Butere Girls High School critiquing governance and generational disillusionment—mirrors past crackdowns, revealing a decades-long pattern of silencing dissent.

Kenya's 2025 National Drama and Film Festival exemplifies the tension between artistic expression and state control.

Originally intended as a platform for creativity and cultural celebration, the festival became a scene of turmoil and protest, marked by the use of tear gas by the Kenyan police against both protestors and members of the press documenting the events.

Central to this conflict was the play "Echoes of War" by former senator Cleophas Malala, whose provocative narrative challenged the prevailing government discourse.

Malala's work articulated the struggles against a heavily regulated media landscape, provoking a strong response from state authorities, who viewed the resonating themes as a direct threat to their power.

This incident highlights the broader implications of censorship and the societal consequences of silencing dissenting voices in artistic endeavours.

Rights group Amnesty International expressed deep concern over this incident, stating that these actions violate children's rights and suppress fundamental freedoms essential to a democratic society.

The festival revealed a growing unease among government officials, indicating that it may be more about a covert political campaign than artistic expression. This has unveiled a troubling pattern of state-sponsored repression regarding free expression and press freedom.

Former Senator Malala is under scrutiny from the authorities for allegedly manipulating schoolchildren for his political agenda, and he now finds himself at the centre of a fierce governmental crackdown.

Interior Cabinet Secretary Kipchumba Murkomen, a close associate of the incumbent president, criticised Malala for using his scripts as “craftily induced skits” to promote his activism agenda.

Critics argue that the government’s heavy-handed response—ranging from arrests to accusations of political manipulation—exemplifies a troubling trend of curtailing free expression among Kenya’s youth.

“We are witnessing a scene where art is being criminalised,” said a local activist, echoing the sentiments of many who believe that the state’s reaction constitutes a direct attack on free speech and the democratic process.

The backlash has reverberated through both educational institutions and the media, where pressure is mounting on teachers, directors, and scriptwriters to conform.

Kenya’s history of political violence has often overshadowed demands for accountability, but youth-led movements are shifting the narrative. The country finds itself caught in a relentless cycle of censorship and human rights abuses.

Through the metaphoric drama of an infamous play—reborn to challenge the status quo—the nation is compelled to confront its institutional silence and the suppression of its most vulnerable voices.

This time, Echoes of War has reopened old wounds and sparked new debates as the nation stands at a crossroads.

The play is a powerful commentary inspired by Kenya’s Gen Z movement, particularly the #RejectFinanceBill2024 protests, which saw young Kenyans take social media by storm to demand accountability from political leaders.

The narrative is set in the fictional Royal Velvet Emirates and centres on a country that has recently emerged from civil war. Young people lead efforts to restore institutions and promote improved justice, healthcare, and educational systems.

The characters in the novel navigate challenges and obstacles, showcasing the power of youth activism and determination in shaping a better future for their community and nation.

Through this narrative, the play critiques the tyrannical governance characterised by repression and the refusal to adapt, portraying the struggle of a society yearning for progress and reform.

The history of interference in Kenyan school plays is not new. The government always pushes back when the conversation revolves around demanding accountability or when the discussion concerns expression, youth agency, and state censorship.

“We are witnessing a scene where art is being criminalised,” said a local activist, echoing the sentiments of many who believe that the state’s reaction constitutes a direct attack on free speech and the democratic process.

The backlash has reverberated through educational institutions and the media, where pressure is mounting on teachers, directors, and scriptwriters to conform.

1. Moi’s Tyranny (1978–2002)

Daniel Arap Moi’s 24-year rule set the template for repression.

Plays like Kamandura Secondary’s 1997 critique of dictatorship and Nyanza students’ 2001 corruption-themed drama were banned, with artists and journalists jailed or disappeared.

Moi weaponised colonial-era laws to conflate dissent with treason, fostering a culture of fear under the guise of “stability.”

2. Kibaki’s Democratic Façade (2002–2013)

Mwai Kibaki’s presidency brought hope with the progressive 2010 Constitution, which included Article 33’s guarantees for free speech.

Yet in 2013, his administration banned Shackles of Doom—another Butere Girls play by Malala—for critiquing corruption.

Activist Okiya Omtatah successfully challenged the ban in court in the case - Omtatah Okoiti v Attorney General & 3 others [2013] KEHC 6184 (KLR), with Justice David Majanja upholding the students’ rights to “speak, challenge, and create.”

Under Uhuru Kenyatta, repression escalated. In 2017, TV stations were shut down to block coverage of opposition leader Raila Odinga’s symbolic inauguration.

In 2019, Moi Girls Eldoret’s play It Is Well—addressing domestic violence and impunity—was nearly banned before public outcry forced its reinstatement.

Activist Caroline Mwatha (who was found dead in 2019) and a Kenyan election official (murdered in 2017) became symbols of state brutality.

William Ruto, who promised “bottom-up” reforms, has intensified censorship. The 2024 #RejectFinanceBill protests saw Gen Z activists abducted, journalists attacked, and internet blackouts imposed.

Malala’s arrest over Echoes of War—a play inspired by these protests—signals the state’s fear of youth-led dissent.

In his recent post on X, Activist and politician Hon. Omtatah said: ‘Now, over a decade later, Echoes of War… faces similar resistance. This isn’t just about one play—it’s about defending the very right to free expression in our education system… The classroom is not a cage. Our stages must remain free.” 

His words echo a painful truth: Kenya’s rulers, across regimes, fear the power of art and education to unmask their failures. Numerous other X users also voiced their concerns following this incident.