Role of creatives in uplifting Gen Z movement's key political message

Kenyan music artist Eric wainaina sings during the Tis' The Season at Junction by music artists Atemi Oyungu, Eric Wainaina and Sheba Hirst at Junction mall rooftop on 25th January 2022 [David Gichuru, Standard] A year ago, Kenya witnessed an unforgettable cultural revolution, with the creative world uniting in nationwide protests and using songs and art to amplify their message. The Gen Z movement, a decentralised, tribeless uprising, erupted against Finance Bill 2024, a policy that threatened to increase economic burdens through new taxes. What emerged was not just political resistance. There was also artistic renaissance that transformed dissent into a cultural force, reshaping Kenya's political landscape. Art provided Gen Z with the means to express their disapproval, transforming anger into a creative force that demanded change. Kenyan streets were filled with the energy of a generation unafraid to challenge the status quo. From Juliani's 'Utawala' to Eric Wainaina's 'Daima Mkenya' and the protest anthem 'Whips za Zakayo' by Deco, artists demonstrated their passion not only for art, but also for their country. "When we did Unbwogable more than 20 years ago the situation was almost similar to what we are undergoing as a country. The role of music has never changed because one of its main purposes is spirit building which brings people together," said Unbwogable hitmaker Maji Maji. The protesters may have been 'tribeless', 'leaderless', 'partyless' or 'radarless', but they were undeniably artsy. Thousands of Gen-Z showed up with their Bluetooth speakers turning Nairobi streets into one massive party. Music, poetry, theatre and memes became tools of this revolution. Songs like Sabi Wu's "Reject Hio Bill," a fiery reimagining of Kendrick Lamar's "Not Like Us," blared through Nairobi's crowded protests uniting marchers in a shared cry of defiance. "The video was shot during the demonstrations where Kenyan civilians and police clashed. Kenyans showed bravery and unity in standing up for their rights," he says. Meanwhile, reggae artist Sir Newson's "Reject the Bill" was also making waves. Wadagliz KE's "Anguka Nayo," with over 11 million YouTube views, exploded on TikTok, its dance moves carrying Kenya's fight to the world. Eric Wainaina's "Daima Mimi Mkenya," sung with raw passion at rallies, wove national pride into the protests' fabric, alongside King Kaka's "Wajinga Nyinyi." A year on, countless songs have been released to honour the fallen soldiers. Barely a fortnight ago rap artist Octopizzo released a single titled "June 25th." Simultaneously, rapper Monaja Mwenyewe is preparing to release his album dubbed "June 25th" as well, ensuring the memory of that day remains alive in Kenya's musical consciousness. On TikTok, where Gen-Z reigns supreme, memes distilled the Finance Bill's complexities into sharp shareable truths, spreading faster than any pamphlet could. Hashtags like #RejectFinanceBill2024 trended globally, paired with photography, videos and posters that flooded platforms like X. AI-generated images and songs added a modern edge, blending innovation with outrage. Though specific memes may fade from memory, their impact endures those viral sparks mobilised a generation, making the protests a global conversation. A year later digital archives of these posts remain as a virtual gallery of Gen-Z's wit and defiance. Spoken word sessions transcended mere art, they became history in the making, capturing the pain of economic betrayal and hope for a just Kenya. Poet and storyteller Ngartia emerged as one of the most powerful voices. "I want to write about love, but bodies float in quarries. I start to write about flowers, then abducted comrades are found tortured. So how can I admire a sunset with killers roaming in the streets?" Ngartia begins in his performance at the Open Mic event at Baraza Media Lab on May 9. Under the theme 'Mental Notes', he was responding to a question from a man who asked him why he only writes poetry about history and politics. "I reach out to embrace my country, it shoves a barrel down my throat. Shouting about dialogue. And I ask, what exactly can we discuss across mortuary slabs?" Ngartia, vocal about governance and political injustices, took to the streets to protest against the Finance Bill 2024. He was also the main cast for 'DaiVerse', a stage production by Irooto Productions that blended storytelling, poetry, music and acting. On the night of the technical rehearsal, he was among the protesters arrested and later released. In previous interviews he recounted how police in civilian clothes were hiding in plain sight in the auditorium, keenly following his performance to see if it took jabs at the Ruto administration. The poet continues to lend his voice through his latest works performed in early May. Fellow poet and spoken word artist Dorphanage (real name Dennis Mutuma) is releasing 'Kilio cha Haki' on June 22. The spoken word recorded piece conveys messages around police brutality and extrajudicial killings. "We lost a lot of people and they were unnecessary deaths. They were only trying to hold the government accountable," says Dorphanage. The poet also participated in the street protests, though in that moment he found himself unable to pen down pieces that reflected his thoughts. "In so many ways I felt excited because people were protesting about the same things I had written about in my work, which are bad governance, historical injustice and corruption," he says. Dorphanage was impressed by how throngs of people expressed their political grievances through art: memes, parodies and satires. He explains that these forms of expression created awareness around the issues and countered narratives that the youth were being used to create chaos. He encourages more artists to document that era for historical purposes so that it is never forgotten. He adds that for a long time people were leaving activism to those considered activists when everyone should be an active citizen. "The political class seem to be missing out on the major shift of the young people when it comes to public participation and political awareness. There is an awakening and a shift from tribal cocoons. Things are bound to be different in the coming elections," he says. In his suspenseful and emotionally charged storytelling performance 'What Doesn't Kill You' in March at Alliance Francaise Nairobi grounds, he painted a picture of his personal experience during the protests and the march to parliament. He spoke of events leading to D-Day, from social media mobilisation to meeting fellow protesters in the streets, highlighting the unity and solidarity from businesses, places of worship and ordinary Kenyans towards protesters. Theatre carved out a significant space for reflection amid the chaos. Thespian and theatre and film lecturer Suki Wanza, who watched many stage plays last year, reflects on the political themes that emerged in the Gen Z protest aftermath. Suki recalls that the second run of 'DaiVerse' resonated deeply with people because it coincided with the height of the protests. Audiences were relating to the political connotations, especially corruption themes in the production. Historical plays like 'Tom Mboya' by Too Early for Birds and the musical adaptation 'Sarafina', directed by Stuart Nash under Nairobi Performing Arts Studio, found new relevance. "People were discovering parallels between what was happening in the plays and the Gen Z protests and abductions. Productions like Creatives Garage's "Blooms in the Dark," which premiered on July 13, 2024, at Braeside School, brought the protests' spirit to life, weaving narratives of political dissent with calls for minority rights. Chants of "Ruto must go" echoed through these performances, turning stages into platforms for dialogue. The students at the National Drama and Film Festivals 2025 continued this tradition, speaking out on corruption, bad leadership and exploitation of Kenyans in their stage performances. A Cleo Malala scripted and directed play, 'Echoes of War' by Butere Girls High School, was initially banned, and the students ultimately refused to perform it due to the absence of their director, props and audience, and strong police presence. The call to speak truth to government shows no signs of stopping. Ngartia captured this sentiment perfectly in his open mic performance at Baraza Media Lab; "My mind is heavy. Heart, broken. Chest, congested. Joints, ache. Eyes, soaked. Spirits, down. Mood, bleak. Yet, yet this is better than flowers on a grave. Than life on the run. Than a lifetime of silence or a future under impunity; somehow this is better. Than the boot of tyranny on my neck. Or at my mother's door." What made this artistic uprising extraordinary was its harmony. Music energised, poetry inspired, theatre provoked and memes mobilised and each form amplifying the others. Together, they transcended Kenya's tribal and economic divides, uniting a generation in a leaderless tribeless fight. A year on the movement's cultural impact endures. Songs still play in matatus and music shows, poems are recited at activist meetups and memes resurface in online debates each a thread in the fabric of Kenya's ongoing push for justice.

Role of creatives in uplifting Gen Z movement's key political message

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