The recent censorship and suppression of the play Echoes of War by Butere Girls High School during the Kenya National Drama Festivals is a disturbing indictment of the shrinking democratic space and growing intolerance within the Kenyan government. In a move that reeks of authoritarian overreach, the government not only attempted to ban the play but also arrested its scriptwriter, Hon. Cleophas Malala — a former senator of Kakamega and one-time Secretary General of the ruling United Democratic Alliance (UDA). This is not just an attack on the arts; it is a dangerous silencing of voices that challenge the status quo.
That it took a court order for the school to be granted permission to stage the play is an indication of the state’s unwillingness to tolerate dissent — even when it is couched in creative expression. But even after the judiciary acted to safeguard artistic freedom, the Ministry of Education and the Kenya National Drama and Film Festival Secretariat orchestrated a new form of subtle censorship. The play was scheduled to be performed at the ungodly hour of
6:00 AM to 6:40 AM, a time when most of the festival’s audience is not even present. Attendance was restricted to only those with entry cards, and the media was barred. This is not freedom — it is a calculated attempt to bury a voice of reason in darkness.
Historically, literature and drama have served as powerful instruments of social reflection and critique. From Chinua Achebe’s A Man of the People to Ngũgĩ wa Thiong’o’s I Will Marry When I Want, artists have always used their creative tools to mirror society’s ills and provoke much-needed dialogue. Echoes of War falls within this noble tradition. Instead of suppressing it, the government should have embraced it as an opportunity to listen, to introspect, and to correct course.
Why does a high school play scare the government this much? Could it be because it tells an uncomfortable truth? Because it dares to explore the contradictions, failures, and missteps of the current regime — even if metaphorically? If our leaders are so fragile that a 40-minute school performance can shake them to the core, then perhaps the problem is not the script but the reality it reflects.
The arrest of Hon. Cleophas Malala is perhaps the most chilling development in this saga. It illustrates that the Kenyan state is not just interested in suppressing content; it seeks to punish creators. This is a clear warning shot to writers, artists, and even students: toe the line, or face the wrath of the state. Such action not only violates constitutional rights to freedom of expression and thought but also sets a dangerous precedent where creativity is criminalized.
It is ironic that a former Secretary General of UDA, once at the heart of the government machinery, is now being treated as an enemy of the state for daring to write a piece that challenges the system. This shows that in the face of political insecurity, loyalty is disposable, and the pursuit of truth is punishable.
What message does this send to the youth? That creative excellence is only acceptable if it flatters the state? That the classroom and the stage must serve as echo chambers of state propaganda? If Kenya begins to treat its artistic spaces with the same heavy-handedness as it does its political arenas, then the country risks not only authoritarianism but cultural stagnation.
It is also worth noting that Butere Girls High School is no stranger to bold performances. In 2007, the school stirred controversy with the play
Shackles of Doom, also written by Malala, which criticized inequality in Kenya. That play, too, faced government censorship. One wonders: has Kenya really progressed if, almost two decades later, we are still silencing the same voices?
Rather than suppress critical artistic works, the government should lean into them. Art is not the enemy. It is a mirror — sometimes cracked, sometimes harsh, but always honest. If a government sees its reflection in a play and does not like what it sees, the solution is not to shatter the mirror but to fix the flaws.
The attempted banning of
Echoes of War, the dehumanizing scheduling of its performance, the denial of media coverage, and the arrest of its scriptwriter paint a grim picture of the state of free expression in Kenya. This is not just about a school play; it is about the future of our democratic discourse. Kenya must choose whether it wants to be a nation of fearful rulers and silenced citizens, or a confident democracy where even the smallest voices can be heard. And if it is truly a democracy, then let the girls speak. Let the echoes of their war reach every corner of the land — for in their truth lies the hope of a better Kenya.
Even before the 2010 constitution during the era of doctors like Late Daniel Moi
Plays were written like
kifo kisimani
Betrayal in the city
Amezidi
Among others I didn't see them arrested.
Kenya is a nation of rule of law and so let Hon malala freedom be guaranteed unless we are in a tyrannical state.
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