Art is no longer meant for entertainment alone; it has become a powerful tool for communication, commentary, protest, and social change.
Widely embraced by youth, art has become a revolutionary tool, shaping political discourse across Africa. Youths have deployed graffiti, murals, content creation and films to challenge societal ills.
According to a 2025 report by the African Union (AU), there are about 400 million people aged between 18 and 35 across the continent, an age group eligible to vote. In addition, research by the MasterCard Foundation in early 2026 estimated that the total youth population in Africa stands at 530 million.
In Kenya, youth comprise 75% of the total population of 47 million. This is equivalent to 13.7 million, according to the Kenya Population and Housing Census (KPHC).
Youths have long sustained the fight against what they term as political exclusion. The high unemployment rate among this vibrant population has stagnated growth. With the present shocking revelations of politicians funding gangs to drive their agenda, these unorthodox groups are largely dominated by jobless youths.
In the past two years, a new wave of political revolutions around the world has been largely driven by young people. Some of these movements have been successful in achieving their grievances.
The youth-led uprising in Bangladesh in July 2024 forced Prime Minister Sheikh Hasina to flee the country and led to the establishment of an interim government alongside ongoing political reforms.
The power of social media and art in politics
In 2025, Gen Z protesters in Tanzania took to the streets after President Samia Suluhu Hassan remained firm against their demands for electoral reforms. The demonstrations continued even after the elections.
Charged by the Gen Z-led series of protests in Kenya in June 2024 against the controversial Finance Bill 2024, the spirit spread among young people, and active involvement in politics began, demanding good governance.
The youths endeavoured to break the silence in the sight of political turmoil.
Morris Andika, a film director and animator in Trans Nzoia, says art has increased youths’ engagement in issues that matter across Africa.
“Politics can be confusing, from constitutions, policies and governance structures. Film translates all these complex aspects into simple narratives, visual explanations and emotional understanding. A good short film or documentary can explain democracy or the constitution better than a textbook,” Andika states.
Gloria Chad, a filmmaker from the Democratic Republic of Congo (DRC), says film is a potential awareness and mobilisation tool. Hailing from a nation frequented by armed militia, she says film is the only tool for them to create awareness, clearly not getting the results immediately, but the outcome is enlightening.
“Coming from a region marked with armed conflict, social injustice and contested governance. Film is our only alternative voice as young people. We tell the realities we witness of what is happening in DRC. It may not always trigger an immediate revolution, but it creates awareness, raising questions, and creating civic engagement among our fellow youths,” Chad said.
In Kenya, the Gen Z protest aftermath was historic. President William Ruto, in a bid to yield to the demands of the youthful protesters, effected a cabinet reshuffle and further dropped the contentious finance bill.
Art and Youth participation in democracy
The films Blood Parliament and The People Shall document the events of June 2024 in Kenya, highlighting the perspectives of young people and their strong passion for advocating for good governance.
Their stories inspired and mobilised other youth, many of whom received support from more financially stable peers to actively participate in demanding reforms. This momentum contributed to a renewed wave of activism in June 2025, culminating on July 7 Saba Saba Day, a historic day that once again marked a significant moment of youth-led revolution in Kenya.
Mark Maina, one of the producers of the film The People Shall, speaking during the Kitale International Film Festival, Kitale Film Week, said they aimed to invoke change, despite leaders allied to the government taking it as an uprising against the government.
“We both read Mstahiki Meya, those who did it after us read Tumbo Lisilo Shiba and such stories, we watched the plays, they evoked emotions. That’s what film does! Films are influential,” Pauline Olick, a media practitioner, echoing the remarks by Maina.
In her work, Chad says her goal when creating political films is not to criticise the government, but to inform people, let the population understand what is happening and elicit conversation among the populace.
“My goal is also to ensure that my audience does not remain passive, watch the film, and that is the end. I want to create room for dialogue; it is happening, so what? How am I affected? What is my contribution in all these? Challenging the audience to be civic responsible is my driving force for any political film,” she further stated.
According to her, the use of art for civic education has helped youths understand their role, the power they have, and when their rights are violated.
“I believe art plays a very important role in increasing youth participation in politics. We are always excluded in politics, it is evident, but through various forms of art, film, graffiti and skits, as young people, we can see our hidden power in constitutions, governance structures and our responsibilities,” Chad added.
Jacob Lusweti, a leadership expert and aspiring politician, has been using art in his campaigns and calling for youths’ participation. Lusweti believes art is the way to make the populace more invested in national issues.
Government interference
Government interference has become a major challenge threatening the new wave. In Kenya, the phrase “Iko siku youths wataungana” (The unity of young people) came to realisation, a movement by youth for the country, shunning tribal alignment in politics.
Amidst the urge to fix the nation, attempts to silence the youths have been reported. The Kenyan government released new guidelines on Drama Festivals, with a ban on political plays and drama in the 2026 festivals.
The ban drew sharp criticism from the opposition, calling out the government over censoring art, for fear of their works being exposed. The opposition leaders and Kenyans not aligned to the idea termed it a curtailment of the freedom of expression.
“The arts have always been Kenya’s mirror. When that mirror makes the powerful uncomfortable, the answer is not to break it. Why tell students not to speak about politics when it directly affects their lives and futures? Mnaogopa nini (What are your fears), exactly?” Artistic freedom is not a threat to Kenya. However, a government that silences its children is,” Martha Karua stated.
This ban follows a 2025 drama ‘Echoes of War’ by Butere Girls, a controversial drama that delves into themes of bad governance, blatant disregard for the law, and the widening gap between the youth and the older generation.
In 2025, the late Nick Wambugu, producer of the Film People Shall, was arrested with three others, in what the government claimed was their direct involvement in the production of the BBC film The Blood Parliament. Their equipment was also confiscated by the police after days in the cells.
Chad says, despite some topics being potential to bring about almost immediate change, many sponsors pull out in financing such projects, for fear of being in the ‘bad books’ with the government.
“There is a lot of political stigmatisation, once people see your project is risky, many will keep off. It is quite challenging. We have had filmmakers’ films rejected in festivals for fear of the government. These threats make our work both courageous and risky,” she boldly highlighted.
The future of film and democracy
Boldly, as Chad says, the future is luminous, and the bar is not dropping, as youthful political representation and involvement have gained momentum.
“Producing politically engaging films in Eastern DRC is honestly challenging,” she paused. “Above all, they strengthen my determination to continue telling necessary stories, even when they make the ruling class feel threatened,” Chad added proudly and courageously.
While the political space continues to be shaped by young revolutions, Chad, Lusweti, Olick and Andika believe that art has been a crucial space in the recent surge of youths in politics.
In the words of Professor CJ Odhiambo from Moi University, Film is not neutral. So it is to say, art is no longer passive. It is revolutionary.
