On September 8, 2024, a play titled The Bullet and the Flag was performed at the NG-CDF hall in Githurai 44 in Nairobi. Written by Njoki and directed by Moses Ngwiri, this play highlights political injustices in Kenya, delving into the critical situation in our country. However, the issues addressed in the play went beyond the recent Gen Z revolution, despite our initial expectations. Although not well documented in our historical textbooks, history has shown how poor leadership unravels—abductions, murderers, fear, and the silencing of dissent become tools of control This play is deeply connected to Kenya’s history, showing that the challenges we face today are rooted in the legacies of colonialism that continue to impact the nation.

Watching the play, one might reflect on Kenyans’ freedom to use art to convey their frustrations to those in authority. Nonetheless, we assert that this represents a two-step-forward and five-step-backward progression relative to the era of our parents and the preceding generation of our grandparents. Not only do our pleas fall on deaf ears, but those who valiantly advocate on our behalf consistently lose their lives.

Are we really free to express our discontent to the president of this nation? The play examines the subject of neocolonialism, wherein we remain under the dominion of those we believed we had overcome 64 years ago. In meetings where Wanjiru and Otieno ought to speak about their vision of democratic leadership, the subject has instead been conferred to John and Jane, who lack comprehension of the actual issues afflicting the local Mwananchi.

Given Kenya’s deteriorating education, health, and economic systems, at what point does the exercise of democracy become imperative? How far must a nation descend until its grievances are acknowledged? Although we have yet to discover a definitive answer, mediums such as theater, music, poetry, and film serve as powerful tools that Kenyan youth have persistently utilized to express their dissatisfaction with the subpar leadership imposed upon them. The saying states that discussing an issue is a significant step towards its resolution; with The Bullet and the Flag, writer Njoki endeavors to use her passion and art as a means for affected Kenyans to speak about their anger and disappointments.

Set in both 2024 and the early postcolonial period, the play shows the struggles that our country has been going through since independence. Although there were celebrations amid our successful overthrow of the white colonial masters, this was short-lived soon after our leaders took office and started portraying the same dreadful forms of leadership. In the play, this is described as replacing white colonialism with black colonialists, as it is today. The lead actor, Nick Muita Nyingi, artistically and confidently shows the challenges faced by Kenyans, particularly the younger generation, while also conveying the anguish of parents who have lost their children in this conflict.

In an interview, director Moses Ngwiri discusses how the Kenyan youths, as portrayed in the play by lead actor Nick and supporting actress Elizabeth Njoki, should continue encouraging one another to understand their civic rights, civic education, the constitution, and their respective roles in the nation, illustrating the significant role of art in activism within our country. The drama serves as a reflection of the current state of our nation, encapsulated in the Swahili adage, “Usanii ni kioo cha jamii” (Art is a mirror of society).

The struggle continues; we remain determined to advocate for the fallen soldiers who valiantly sacrificed their lives for better leadership. Although they may not appear in our textbooks, we will encounter them in songs, spoken word performances, theatrical revivals, and the inexplicable influence of film and photography—the power of a thousand words. Art is a permanent instrument that strives to remind us of our national dignity. If it is used effectively and spread widely, beyond urban areas to smaller towns, significant transformation will be unavoidable, making the approach of divide and conquer ineffective. Subjects we are unable to address personally due to governmental constraints can be expressed freely and artistically on stage or through the screens of our smartphones.

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