#kenyan british artist

[huariqueje]

Clive's Cabbages - Phoebe Baskett

Kenyan-British , b. 1982 -

Linocut print , 38 x 52 cm.

[oncanvas]

Cave, Michael Armitage, 2021

Oil on Lubugo bark cloth 78 ¾ × 59 in. (200 × 150 cm)

[harvardfineartslib]

“… I always think that there’s something about trees that feels like they’re the original gallery space, the original place of worship and awe—where we brought our meager and modest human creations so that we could think about divine and unknowable things.”

- Wangechi Mutu in conversation with Trevor Schoonmaker, 2012

Wangechi Mutu is a Kenyan-American artist who is based in both Nairobi and New York. Born in Nairobi, Kenya in 1972, Mutu works across a wide range of media including video, installation, collage, and sculpture. Her work is centered around hybrid and composite female figures that are part human, animal, plant, machine, monster, and land. She often talks about the importance of her roots in Kenya and how Kenyan history was not taught in Kenya while she was growing up. Instead, Kenyan children were taught British history, the colonizer’s history. In her work, Mutu investigates broad issues ranging from gender, race, colonialism, war, rituals, environmental transformation, displacement, hunger, consumption, and in particular, the exoticization of the black female body.

Image 1: “People in Glass Towers Should Not Imagine Us” 2003, Mixed-media collage on paper

Image 2: Sketchbook drawing, 2010, Pen, ink, pencil and collage on paper

Image 3: Book cover featuring the image from “Funkalicious fruit field” 2007

Wangechi Mutu : a fantastic journey Edited by Trevor Schoonmaker ; essays, Trevor Schoonmaker, Kristine Stiles, Greg Tate. Wangechi Mutu [artist, interviewee] [Durham, N.C.] : Nasher Museum of Art, Duke University, 2013. HOLLIS number: 990137821000203941

[apollos-olives]

lemme make a list of some non western songs. Not all of them will be Arabic, there’s some African singers here too.

Habibi - KAYAM (Tanzanian/Kenyan/British/Indian - Canadian born)

Naïf - GIMS (also known as Maître Gims, Congolese French) (VOCALSSSSS) (I could make a whole list of him and the next artist I’m about to put down)

L’enfer - Stromae (Rwandan-Belgian) (extremely popular, you might have heard Papaoutai or Alors on Danae. Papaoutai is about his father who died in the Rwandan genocide ☹️ you should listen to it, it’s very sad)

Sante - Stromae

Mets moi bien - GIMS (change of pace lol)

Born without a Heart - Faouzia (Moroccan-Canadian)

Puppet - Faouzia

Ghazaleh- Dana Saleh (Jordanian/Palestinian/American)

Call Me - MANAL (Moroccan)

Jayeb Khbari - RYM (Moroccan)

Very Few Friends - Saint Levant (Palestinian/Serbian/Algerian/French)

FaceTime - Saint Levant

Sability - Ayra Starr (Nigerian - Beninese)

I think that’s enough for now lolllll sorry

thank you so much!!!! i'll listen to them as soon as i have a chance 🫶🫶

[afrotumble]

Phoebe Boswell, Kenyan-British artist. Born 1982, Kenya.

[reclaiming-spaces]

Esther Mahlangu's artistic style and cultural influence make her a unique artist. While it is difficult to find artists who share the exact combination of her distinctive Ndebele-inspired aesthetic and cultural context, there are artists whose work exhibits similarities or resonates with certain aspects of her art. Here are a few artists who explore themes of cultural heritage, vibrant colors, and geometric patterns, which may evoke a sense of affinity with Esther Mahlangu:

Nelson Mukhuba - A South African artist known for his colorful geometric patterns and contemporary interpretations of Venda culture.

Billie Zangewa - A South African artist who incorporates vibrant textiles, storytelling, and personal narratives to explore themes of identity and womanhood.

Firelei Báez - A Dominican-American artist whose work often involves intricate patterns, cultural references, and explorations of identity, memory, and history.

Wangechi Mutu - A Kenyan-American artist who combines collage, painting, and sculpture to explore themes of African identity, femininity, and cultural mythology.

El Anatsui - A Ghanaian sculptor renowned for his large-scale installations made from recycled materials, which resemble vibrant tapestries and evoke the traditions and history of West Africa.

Yinka Shonibare CBE - A British-Nigerian artist known for his use of African fabrics, vibrant colors, and historical references to explore themes of colonialism, globalization, and cultural identity.

While these artists may share certain resonances with Esther Mahlangu's work, it's important to note that each artist has their unique artistic voice and cultural context. They contribute to the rich diversity and ongoing dialogue within the contemporary art world, celebrating and exploring different aspects of cultural heritage, identity, and artistic expression.

[abwwia]

Happy Birthday Sarah Maple - we love you! #BornOnThisDay

follow @sarahmapleart for more up-to-date works by this absolutely fantastic British Contemporary Artist!

Here is the link to our tribute post: www.palianshow.wordpress.com/2022/01/16/sarah-maple-b-1985-uk/ (2022)

see the blog for more of our favourite artworks 💃💪🙏💥

Sarah Maple (b.1985) is a British visual artist. She was recognised for her work after being awarded the "New Sensations" prize. Early life and education. Maple was born in 1985 to a Kenyan Muslim mother and British father. Via Wikipedia

Sarah Maple is an award winning visual artist known for her bold, brave, mischievous and occasionally controversial artworks that challenge notions of identity, religion and the status quo. Much of Maple's inspiration originates from her mixed religious and cultural upbringing.

Sarah’s artwork, film and performances have been exhibited internationally at galleries and institutions.

Via artist's website

#SarahMaple #activistart #feministart #artbywomen #womeninarts #femaleartist #feminism #contemporarybritish #PalianShow #feministart #BritishFemaleArtist #ukart

[simonshawrugbygod]

#PORTRAIT_No12 @shawseyshaw🏉🏉 :" NEVER

STOP. TRYING, NEVER GIVE UP"💪💪💪💪 . . . ." #mySHAWSEYs12thPORTRAIT #2013ARTWORK #THEONLY_THEBEST #MYSHAWSEYSHAWMASSSSIVE4ME 🤗🤗🤗🤗 #INSPIRATION🎨🎨🎨🎨 #GREATNESSofSOUL . . . .#CLASSY_AS_EVER #MYSIMONSHAWSEYSHAWGREATERTHANTHELIFE4EVER🏆 #myMIGHTYONLYRUGBYGODLEGENDARYSIMONSHAWSEYSHAWMASSSSIVE4me #CHEERSmySHAWSEYSHAW🍺🍺🍺🍺@SetPieceEvents❤ @mrestaurants_❤ @InMyLocker💙 @caytoouk ❤ #simonshaw #rugbylegend #LEGEND #SIMONSHAWRUGBY #SHAWSEYSHAWRUGBY @simonshawrugby 🏉🏉🏉🏉 #mySHAWSEYSHAWMYONLYRUGBYGOD #CHEERS #DEVOTED4MYSHAWSEY4EVER #BESTWISHES #MYINSPIRATION4EVER #mySIMONSHAWSEYSHAW_MASSSSIVE4me4EVER🎨🎨🎨🎨🏆 #GODBLESSmyMIGHTY_SIMONSHAWSEYSHAW4me4EVERmyPRIDEandJOY MY SIMON SHAW 4EVER🏆#shawseyshawrugby #RUGBY #SIMONSHAWSEYSHAW #RUGBYFAMILY🏆 #GENTLEGIANT🤗🤗🤗🤗🙎‍♂️#eddyshaw

[dear-indies]

Hii!! Can you suggest me some biracial faceclaims? Preferably half white half black if you won’t mind 🙏🏻

Women:

Nina Sosanya (1969) Nigerian / English.

Tamara Taylor (1970) Black Canadian / Scottish.

Carmen Ejogo (1973) Nigerian / Scottish.

Amanda Brugel (1978) Black Canadian / English.

Megalyn Echikunwoke (1983) Nigerian / English and Scots-Irish.

Annie Ilonzeh (1983) Igbo Nigerian / Polish, English.

Gugu Mbatha-Raw (1983) Zulu South African / English.

Zawe Ashton (1984) Ugandan / English.

Natalie Gumede (1984) Zimbabwean / English.

Cush Jumbo (1985) Nigerian / English.

Jessica Lucas (1985) Black Canadian / European.

Ilfenesh Hadera (1985) Ethiopian / Unspecified White.

Cynthia Addai-Robinson (1985) Ghanaian / English.

Hannah John-Kamen (1989) Nigerian / Norwegian.

Jasmine Cephas Jones (1989) African-American / English.

Nanna Blondell (1986) Ghanaian / Swedish.

Logan Browning (1989) African-American / European.

Belinda Owusu (1989) Ghanaian / English.

Laura Harrier (1990) African-American / Rusyn, English, German, Swiss-German.

Paulina Singer (1991) African-American / Ukrainian.

Berta Vázquez (1992) Ethiopian / Ukrainian.

Kiersey Clemons (1993) African-American / European - is queer.

Aisha Dee (1993) African-American / Unspecified White.

Fola Evans-Akingbola (1994) Nigerian / British.

Jasmin Savoy Brown (1994) African-American / English, German, Norwegian, Scots-Irish/Northern Irish - is queer.

Corinne Foxx (1994) African-American / European.

Melissa Rakiro (1994) Kenyan / German, Irish.

Non-binary:

Olive Gray (1994) Zambian / English - non-binary - they/them

Quintessa Swindell (1997) African-American / Unspecified White - non-binary - he/they.

Tylan Grant (2001) Zambian / English - non-binary - they/he - is Autistic.

Men:

Daniel Sunjata (1971) African-American / Irish, German.

Richard Ayoade (1977) Nigerian / Norwegian.

Joey Ansah (1982) Ghanaian / English.

Kendrick Sampson (1988) African-American / English, other.

Regé-Jean Page (1990) Zimbabwean / British.

Elliot Knight (1990) Nigerian / English.

Jacob Artist (1992) African-American / Polish.

Justice Smith (1995) African-American / Italian, French-Canadian - is queer.

Jidenna (1985) Igbo Nigerian / English, German, Dutch.

Noah Gray-Cabey (1995) African-American / European.

Michael Evans Behling (1996) Nigerian / Unspecified White.

Odiseas Georgiadis (1996) Ghanaian / Greek.

Hey anon! Please remember manners when asking other helpers something and please let me know if you need more specific suggestions!

[optikes]

Magdalene Anyango Namakhiya Odundo  (b1950) Kenya, lives and works in the UK

1 Vase (1990)

2 Untitled (1989) burnished and carbonized terra cotta, 44x38cm

3 thrown, burnished reduction fired pot (    )

4 the artist and her work

5, 6 text source: capriolus.nl

A    artsy.net     Best known for her hand-built ceramics, Kenyan-born British designer Magdalene Odundo originally trained as a graphic designer. Her pieces are not made traditionally using a wheel, but are instead creating using a coiling technique. Her pieces are left unglazed and are burnished by hand, turning red-orange clay pieces into black pots or vessels that are as distinctive in their colour as they are in the forms she creates by hand. Amorphous in shape yet resembling the human body in curvature and sinuosity, the pots are vehicles for thinking about the human body and its relationship to space. Her influences vary widely, from Cycladic figures to modern sculpture by Jean Arp and Constantin Brancusi.

B    Liese Van Der Watt,  contemporaryand.com

In many traditional African societies, clay pots and vessels are made by women. Shaped by hand, decorated or not, they fulfill mostly domestic needs and are used to collect and keep water or beer, to cook in and to eat from. Because these items are functional household items they fall in that murky category of “craft,” where objects are historically attributed to anonymous makers, often the domain of women.It is therefore easy, if stereotypical, to assume that a female ceramicist of African descent is merely continuing a tradition that she was born into, one that is somehow part of her very being.

But for acclaimed Kenyan ceramicist Magdalene Odundo it was a long journey. After finding her preferred artistic medium – clay – she’s been on a long and circuitous passage starting in England, taking her back to Africa, and culminating in the ceramic art works that she has become so famous for: beautifully simple and perfectly accomplished hand-built anthropomorphic vessels, burnished in black and red tones. These pieces are hybrid creations – they gesture to Africa but also to Europe and Asia, they speak of Greek and Roman influences but also of indigenous African traditions.

Odundo speaks of clay vessels as having an inside and an outside, a skin and a body, and therefore being able to express her inner thoughts. Her vessels capture stances, gesture, and movements; in interviews, Odundo often describes how she literally “embraces” them or “dances” with them, starting on a little step next to the lump of clay, working her way up in order to shape and form them. They are literally embodied objects, providing a connection with all of humankind – Odundo says ceramics tell “the history of our humanity,” since they have been essential to all cultures.

In an exhibition currently on show at the Hepworth Wakefield in West Yorkshire, Odundo has been asked to select and combine objects and images with more than 50 of her own vessels. It is a clever curatorial strategy befitting an artist like Odundo – one sees in an instant how her work is situated in a wide web of influences and inspiration, her chosen objects and her own pieces appear almost like old friends having a conversation. On display is an eclectic variety of objects, artifacts and ideas that have influenced her vision and interests – vessels from British studio pottery, ancient Greece, and Egypt; ceramics from Africa, Asia, and Central America; Elizabethan textiles; ritual objects from Africa; and sculptures by Degas, Barbara Hepworth, Henry Moore, and Rodin. The resonances are aesthetic and cultural but also located in shared techniques and approaches to art making.In an interview Odundo has said that

“in Nigeria, I learned to look and listen. By listening to people who made art, they made it apparent that ambition wasn’t enough to make you a potter. Patience was the vital ingredient, you had to learn to observe, to participate…”

It is this deeply thoughtful and humble approach to her art that sets Odundo apart; from this fusion of listening, learning, and collaborating she creates works that are at once situated in tradition, but also singular and original.

[pearlintheruins]

this is a new blog so i guess i’ll introduce myself:

 - call me pearl :D

 - she/her

 - bi

 - 16 yrs (yr 12)

 - british/kenyan 

 - cancer, intp :)

 - i like reading pretty much anything, listening to music, writing crappy poetry, eating, watching films and tv

 - fav books are lord of the rings, the secret history, no longer human, and lots more - it’s like trying to chose a favourite child

 - top artists (according to last fm) are doja cat, mitski, twice, sza, pinkpantheress, iu, pheobe bridgers, txt, and marina. 

 - i like action and fantasy films, nostalgic british tv shows like doctor who and merlin, and k dramas (e.g. crash landing on you, weightlifting fairy, coffee prince...)

 - no homophobes, racists, xenophobes, transphobes in my house

 - message me if u want to chat i’m looking for some online friends :) 

[bogusavathepit]

Laurent & Laurent (S4)

So, I made two separate versions of Laurent, one of the important characters of color in the Twilight series (Twilight and New Moon). One of the versions I made from the description I’ve read from the guide and the first book, while the other version comes from what I’ve seen in the movies where Edi Mūe Gathegi plays Laurent. 

A. (Books) Turned in his 40s; spoke French Creole yet lived in France as a human; Was very likely biracial

In CAS

In Game, With My Twilight Vampire Mod

*the chalkiness is no my doing, that was the lighting’s fault*

B. (Movies) Gagethi looked like he was in late 20s; Kenyan (East African); dark-sinned black person

I am not good at making likenesses of real people...at all.

In CAS

In Game, With My Twilight Vampire Mod

A Long Winded Explanation for “Why”

Not happy with the movie versions of the Twilight series at all, but not because Laurent is darker-skinned. 

I’ve tied the entire movie Laurent character with the smh-ness of the movies themselves. And I am one of those people who will always believe that the books’ narrative is better than the movies’, especially with the number of lazy cash-grabs that continue to soar in number and frequency over time that flanderize personalities.

Not that Twilight is an artistic masterpiece nor was it trying to be. The movies just weren’t as gripping as the books’ horror-tinged, thrilling melodrama because they didn’t bother to actually display the despairing image of vampirism that Twilight vampirism presented. The director of the first movie, Catherine Howard seemed to at least try.

Then they just phoned it in after Twilight and made vampires too human-like.

All in seeming laziness or lack of care AND to better appeal to a wider audience who may or may not know about Mormonism, gender, sex, and race in America plus British literature’s influence on Meyer's vision, specifically the gothic genre’s influence. (This is not an excuse for many canon characters’ behavior nor the series’ treatment of certain characters--more of a contextual explanation for why these movies were weak sauce and tried too hard. And I do agree with the decision to make the darker vampires not pale like how Meyer did. The only thing I agree on.)

Still, I didn’t want to erase Gathegi and his performance. Gagethi’s prescence inserted color and shade into a series that seriously needed it. 

The invisibility and degradation of POCs is not for me, so when a POC person succeeds and/or is allowed to, it should be recognized, appreciated/celebrated, talked about, and used as context for a bigger conversation for why it was done. Why didn’t the books do this?

What do you think and how’d I do? Wanted to provide both versions for however you experience the series and for you to think about why whichever respective sim appeals to you.

The two Sims 4 versions of Laurent (inside “James’ Coven”) is out! 

Download Here on Patreon!

[youngbugandtonystank]

To keep up the spirit remember guys we shouldn't forget about it just because it's been a few days, can you make a list of some black actresses in the mcu and their accomplishments? we need those ladies to be on the spotlight today and forever

Hi!

Sure!♥

Lupita Nyong'o, Kenyan-Mexican actress (Lancome's first black ambassador, Oscar Award Winner, Best Breakthrough Performance winner, Outstanding Actress winner, named Personality of the Year, Outstanding Actress in a Motion Picture for Black Panther and Us, Outstanding Broadway winner and winner of several awards for Best Actress, named the world's most beautiful person for 2014 by the US People magazine, winner of the Essence Magazine Black Women In Hollywood Breakthrough Performance Award, Academy Award Nominee). - Nakia, Black Panther.

Lashana Lynch, British actress (First female James Bond/007 in Bond 25, one of the main actresses in the first solo female-led movie in the MCU, one of the first female African-American United States Air Force fighter pilot in the MCU, Essence Black Women in Hollywood winner, in the Marvel comics, her character’s daughter; Monica Rambeau, was the first female Captain Marvel and became the first African-American woman to join and eventually lead the Avengers). - Maria Rambeau, Captain Marvel.

Letitia Wright, Guyanese–British actress (First, youngest and canonically the smartest female character in the MCU, third-time winner for Outstanding Supporting and Performance Actress, Scene Stealer, and Breakout Movie Star nominee, BAFTA’s Rising Star Award winner, Choice Sci-Fi Movie Actress winner, Princess of Wakanda and one of the stars of the highest-grossing film). - Shuri Udaku, Black Panther.

Danai Gurira, Zimbabwean-American actress (Opened the first-ever all-Black, all-women creative team and cast on Broadway, Best Breakthrough Performance winner, winner of several awards for Best Supporting Actress, Best Actress, and Outstanding Supporting Actress, named The Action Movie Star of 2018, Best Lead Actress winner, Revolution Award for Artistic Excellence winner). - Okoye, Black Panther.

Angela Bassett, American actress (Queen of Wakanda in the MCU, first and only African-American recipient of the Golden Globe Award for Best Actress in a Musical or Comedy, Academy Award nominee, Icon Award winner, winner of several awards for Outstanding Actress, Best Actress, Outstanding Lead Actress, and Outstanding Supporting Actress for Miniseries, Television Movie, Movie or Dramatic Special, Outstanding Director nominee) .- Ramonda, Black Panther.

Tessa Thompson, American actress (MCU's first openly LGBTQ demi-goddess superhero, queen of New Asgard, her character is one strongest warriors of Asgard and one of the most powerful female superheroes in Marvel comics, Best Supporting Actress, Outstanding Supporting Actress, Breakthrough Performance and, Best Breakthrough Performance winner several times, American Black Film’s winner for Best Actress, named Woman of the Year in 2017, winner of the Top 10 Breakout Stars Awards, winner for Best Music of Seattle Film Critics Awards) .- Brunnhilde/Asgardian Valkyrie, Thor.

Zoe Saldaña, Afro-Latina actress (Gamora's 'deadliest woman in the Galaxy' in the MCU, star of not one, but two of the world’s highest-grossing films of all time, the sixteenth Latina in history to earn a star on the Hollywood Walk Of Fame, Favorite Movie Actress, Best Supporting Actress, Best Global Supporting Actress, Outstanding Animated Character and Choice Movie Actress winner) .- Gamora, Guardians of the Galaxy.

Laura Harrier, African-American actress (First black love interest and legendary title of the lead actress in a Spider-Man and Marvel movie in the MCU, in the comics: Liz Allan owns her own company, she is the founder and CEO, nominated for Outstanding Breakthrough Performance twice, female protagonist of Spike Lee's BlacKkKlansman, film nominated for Grand Prix award, five Academy Award nominations and winner movie for Best Adapted Screenplay) - Liz Allan/Toomes, Spider-man.

Shaina West, Ghanaian actress and stunt actor (Real life super-hero and an alter ego fighting to change the stigma around Black women on screen, self-trained highly skilled martial artist specializing in weaponry, UK’s 2nd Female BAME Stunt Actor, certified personal trainer). - Black Widow.

Zendaya Coleman, American actress.- (Teen Choice Award, Kids Choice Award, and People's Choice Award winner for Best Style, Choice Movie Ship, Female TV Star – Kids' Show, Choice Liplock, Choice Twit, and Choice Collaboration. Young Artist, Outstanding Performance in a Youth/Children's Series, Outstanding Young Ensemble in a TV Series and YoungStars Award nominee) .- Michelle Jones, Spider-Man.

Feel free to add more!

[wondersmith39]

day two of @hetaliaafrica2020 - holidays/celebration

based off of photos of parades on Jamhuri Day/Republic Day, celebrated December 12 in Kenya to commemorate their independence from the British Empire (except I like drawing crowds as much as the next lazy artist so ya girl’s going her own parade somewhere more scenic than a stadium lol)

The uniform is based off of that of the Kenyan Air Force, inspired by one Fatumah Ahmed, the first woman in Kenya to reach the rank of Brigadier-General. I know Hetalia nations are most often drawn in their ground forces’ uniforms (America and his bomber jacket being a notable exception) but I really liked the colour of the Kenyan Air Force uniform, and I always associate pilots with being really optimistic and free-spirited which lines up with how I imagine Kenya’s personality

[two-browngirls]

BREAKING OUT OF THE BOX - SONIA CHANDARIA TILLU

For every #BROWNGIRL, redefining, rejecting and creating new ‘labels’ that society gives us or we choose to identify with has a huge impact on our lives, ideas and ambitions. 

One of the reasons we started TWO-BROWNGIRLS was because we wanted to connect with other women who were defining their identity for themselves and could be inspirations and role models for others. 

In the second part of our three-part series highlighting emerging dance artist, Sonia Chandaria Tillu, Sonia shares with us how she has constantly worked and lived to break out of conventional labels placed upon her.

“Am I an accountant or a dancer? Indian, Kenyan or British? Professional, semi-professional, amateur? Classical, semi-classical or a commercial dancer? Do I aspire to be a career woman or housewife? Even my dating status apparently needed to fit into a category...”

When Sonia set up her own company, Sona Lisa Dance, she decided to make it part of the artistic mission to challenge these labels society puts on us. 

“In my piece ‘Breaking Ground’, I explore multicultural identity and the impact of migration. How do we unpack the emotional conflicts that arise from sometimes multiple migrations? Every time we move to a new country we experience it through the lens of our cultural baggage.”

Check out the video HERE that shares her creation process and introduces some of the artistic team.

Sonia is also inspired by women who have come before her such as Indian freedom fighter, Aruna Asaf Ali. In her new piece ‘Āgraha’, choreographed by Jose Agudo, Sonia explores how Aruna played an active role in Gandhi’s Satyagraha Salt March. 

“On one level she was a really compassionate, empathetic and caring woman and on the other hand she was an extremely radical and independent thinker - it’s amazing to read her biography to attempt to understand how she drew on these various aspects of her personality in a totally organic way. More about this piece is on our website HERE.”

Catch Sonia performing these new works at the MAC Birmingham on 30th November 2019. Tickets and more info HERE. 

It’s so important to continually share stories of women that are breaking the boundaries of the boxes that they’ve been placed into so that more people, especially of the next generation, can see what’s possible. We can choose what labels we are defined by and create new ones too so that before you know it, there are no more boxes that fit us at all. 

[pennstateuniversitypress]

Kenyan Prayer for Decriminalizing Homosexuality

by Adriaan van Klinken, author of Kenyan, Christian, Queer: Religion, LGBT Activism, and Arts of Resistance in Africa, forthcoming in August.

This Friday, May 24, the High Court in Nairobi, Kenya, is supposed to issue a ruling about the decriminalization of homosexuality in the country. If favorable, this ruling will be widely seen as a landmark in the history of LGBT activism in Kenya and would follow a recently emerging trend across the continent with Angola decriminalizing homosexuality in January this year and Mozambique a few years earlier.

In 2016, Kenyan LGBT organizations filed two petitions, asking the High Court to declare that Sections 162 a and c and 165 of the Kenyan Penal Code are unconstitutional. The Penal Code, which dates back to the British colonial period, holds liable to imprisonment any person involved in “unnatural offenses” or “carnal knowledge against the order of nature” (up to fourteen years), and any males involved in “indecent practices” (up to five years).

The Court is taking considerable time to reach a decision. Submitted in April 2016, the petitions were first heard in February and March of 2018. The ruling was originally supposed to be made on February 22 this year, but was postponed until May. In the meantime, Kenyan LGBT activists, with local and international allies, have built a strong campaign, using the hashtag #Repeal162 to create visibility and mobilize support for their cause.

The opposition to LGBT rights in Africa is often associated with religion, in particular with Christian churches and organizations. Indeed, in the Kenyan context, religious bodies such as the Evangelical Alliance of Kenya, the Catholic Justice and Peace Commission, and the Kenya Christian Professionals Forum have been very vocal on the issue. These organizations also hold significant political influence in a country where the great majority of the population is Christian. Deputy President William Ruto, while speaking in a church a few years ago, stated that “homosexuality is against the plan of God” and that “we will defend our country Kenya, we will stand for our faith and our country.”

However, it would be a mistake to only see Christianity as fueling the campaign against LGBT rights. In fact, many members of the LGBT community are religious themselves, and several LGBT organizations and activists actively engage with religious bodies and make creative use of religion as a resource. For instance, the Same Love music video, produced in 2016 by the Kenyan band Art Attack, quotes the Bible and closes with the statement “Love is God and God is love”. The organization NYARWEK, in the city Kisumu, has actively worked with religious leaders to promote the acceptance of LGBT people, through a “training manual on religious inclusion for Christians at the periphery”. Another organization, PEMA Kenya, in Mombasa, has initiated a “religious dialogue partner process” on issues of sexual and gender diversity. In Nairobi, Cosmopolitan Affirming Church (CAC) is an LGBT-affirming Christian faith community that has become an important hub of Christian LGBT activism.

On the Sunday before the original ruling date of February 22, CAC held an inter-denominational prayer service, in order to pray for, the impending decriminalization ruling. The CAC choir performed the gospel song, “We are a rainbow”, with the following chorus:

We are a rainbow, sign of covenant and peace,

For the flood of tears will finally cease to be,

Come shine your rainbow, splash your hues across the sky,

Paint the world in colors proud and bold and free.

The intercessory prayers during the service passionately called upon God to make the promise of the rainbow come true in Kenya, while various speakers called upon the congregation to keep hope and be part of God’s movement for social change towards freedom for all.

For these Kenyan LGBT Christians and their allies, prayer and worship is a major “art of resistance” and a form of political mobilization. Let’s hope that the ruling on Friday can be seen as an answer to their prayers!

Adriaan van Klinken is Associate Professor of Religion and African Studies at the University of Leeds. He is the author of Transforming Masculinities in African Christianity: Gender Controversies in Times of AIDS and coeditor of several books, including Public Religion and the Politics of Homosexuality in Africa and Christianity and Controversies Over Homosexuality in Contemporary Africa.

The latest book in our Africana Religions series, Kenyan, Christian, Queer presents four case studies of grassroots LGBT activism through artistic and creative expressions—including the literary and cultural work of Binyavanga Wainaina, the “Same Love” music video produced by gay gospel musician George Barasa, the Stories of Our Lives anthology project, and the LGBT-affirming Cosmopolitan Affirming Church. Through these case studies, van Klinken demonstrates how Kenyan traditions, black African identities, and Christian beliefs and practices are being navigated, appropriated, and transformed in order to allow for queer Kenyan Christian imaginations. Learn more, read a sample chapter, and sign up to be notified when the book is published here.