Echoes of Resistance: The Archival Power of Art

The fight against human injustice, colonization, authoritarianism, and dictatorship has long found a powerful and resonant voice in art, particularly music. Across continents and throughout history, artists have leveraged their creative expressions to challenge oppressive regimes, inspire resistance, and advocate for fundamental human rights.

Music, with its inherent ability to transcend linguistic and cultural barriers, often becomes a universal language of protest. Its rhythmic and melodic structures can evoke strong emotions, foster solidarity, and disseminate messages of dissent in ways that mere words sometimes cannot. From the spirituals sung by enslaved Africans in the Americas to the protest anthems of the anti-apartheid movement, music has consistently provided solace, courage, and a rallying cry for those fighting for freedom and equality.

Colonialism, a system of domination and exploitation, was met with fierce resistance, and art played a crucial role in mobilizing and sustaining these movements. In many colonized territories, indigenous musical forms were adapted to carry messages of defiance and cultural preservation.

Africa, perhaps more than any other continent, bears the deep scars of colonialism. Yet, it also boasts a rich history of artistic resistance. Traditional African music, often communal and participatory, became a powerful tool for expressing grievances and fostering a sense of shared identity against foreign rule.

In Kenya, during the Mau Mau uprising against British colonial rule (1952-1960), songs played a vital role in recruitment, morale-boosting, and disseminating information. Mau Mau fighters and their supporters composed and sang songs that glorified their struggle, demonized the colonizers, and instilled a sense of national pride. These songs, often performed in secret gatherings, served as a clandestine communication network, bypassing colonial censorship. For instance, songs like "Muthirigu" were adapted to carry coded messages about planned attacks and strategies, becoming a form of oral newspaper for the resistance movement. The lyrics often spoke of land dispossession, forced labor, and the yearning for self-determination. Even after colonialism and in the quest for Social Justice, Good Governance and the Fight against Corruption, songs have been used by Kenyans to give morale and pass across their messages to the political establishment. Songs such as the Popular "Bado Mapambano" by the late Otieno Kajwang' are mostly used during protests by Kenyans, most recently the Gen Z protests of June 2024. To fight for labor rights, especially by teachers and lecturers' unions, there emerged the song, "Solidarity forever". Songs such as "Daima Mkenya" by Eric Wainaina and "Mungu Baba" by Rufftone and The GSU choir seek to entrench Kenyan unity and fight tribalism by fostering peace, love and unity among all Kenyans irrespective of tribe, as they were produced in light of violence and internal strife, especially during the 2007/'08 Post Election Violence. Songs such as "Tujiangalie" by Sauti Sol and Nyashinski, "Blue Uniform" by Sauti Sol, "Maandamano" by Bien and Breeder, "Nchi Ya Kitu Kidogo" by Eric Wainaina, "Utawala" by Juliani, and "Tano Tena" by Sauti Sol, Bensoul and Nviiri the Storyteller invoke the ills of the political elites and take a stance against inequality, social injustice and Kenyan dirty politics. In the same breath, there have been spoken words such as "Wajinga Nyinyi" by King Kaka and the numerous spoken words by Willie Oeba, which bring to light government ills and the rampant double speaking and corruption by the political elites.

Similarly, in Congo (then the Belgian Congo), traditional music and dance were subtly used to express discontent. While overt political protests were brutally suppressed, artists found ways to embed their critiques within seemingly innocuous cultural performances. Rumba music, which gained immense popularity in the mid-20th century, often carried veiled political messages. Artists like Franco Luambo Makiadi, though sometimes collaborating with the colonial administration, also composed songs that subtly critiqued the social inequalities and injustices prevalent under Belgian rule. After independence, Congolese music continued to be a platform for political commentary, reflecting the hopes and disappointments of a newly independent nation.

Ivory Coast also witnessed the power of music in its struggle for independence. Artists like Seydou Koné, better known by his stage name, Alpha Blondy, though rising to prominence later, drew heavily on the legacy of anti-colonial sentiment in his reggae music. His songs, often sung in Dioula and French, address themes of injustice, corruption, and the lingering effects of colonialism, resonating with a broad audience across Africa and beyond. While his most direct critiques came post-independence, his musical lineage connects to earlier forms of artistic resistance that laid the groundwork for national consciousness.

Across the broader African continent, the "Highlife" genre, originating in Ghana and spreading throughout West Africa, often served as a vehicle for social commentary. Its upbeat rhythms and accessible melodies made it popular, allowing artists to subtly weave in critiques of colonial policies and later, post-independence corruption. Artists like E.T. Mensah from Ghana, while primarily entertainers, contributed to a cultural awakening that was intrinsically linked to the desire for self-rule.

The fight against apartheid in South Africa provides one of the most powerful examples of music as a tool for liberation. Artists like Miriam Makeba, known as "Mama Africa," used her powerful voice to expose the brutality of the apartheid regime to an international audience. Her songs, often banned in South Africa, became anthems of resistance and solidarity, earning her exile but amplifying the anti-apartheid message globally. Hugh Masekela, another iconic South African musician, used his jazz and Afro-beat compositions to protest apartheid, with songs like "Soweto Blues" becoming synonymous with the struggle. His music not only documented the suffering but also celebrated the resilience and spirit of the South African people. Songs such as "Soweto (Say No To Apartheid)" resonated with the struggle against the Apartheid Regime. Later, Lucky Dube, a reggae artist, emerged as a powerful voice against injustice in post-apartheid South Africa and across the continent. His songs, such as "Prisoner" and "Different Colours, One People," addressed issues of political corruption, racial discrimination, and the need for unity, resonating deeply with audiences who continued to grapple with the legacies of oppression.

In Asia, art has also been a potent force against colonial powers and oppressive regimes. During the British Raj in India, nationalist songs and poetry became crucial tools for mobilizing the masses. Rabindranath Tagore, a Nobel laureate, composed numerous patriotic songs that instilled a sense of national identity and encouraged resistance against British rule. His song "Jana Gana Mana" eventually became India's national anthem, a testament to the power of art in shaping national consciousness.

In Vietnam, during the struggle against French colonialism and later the American intervention, folk songs and revolutionary anthems played a significant role in boosting morale and disseminating propaganda. Songs like "Tiến Quân Ca" (The Marching Song), which became Vietnam's national anthem, galvanized soldiers and civilians alike, embodying the spirit of resistance and the dream of an independent nation.

Beyond colonial struggles, art has consistently been a frontline weapon against authoritarianism and dictatorship, providing a voice for the voiceless and a platform for dissent when other avenues are shut down.

Latin America has a particularly rich history of using music to resist oppressive regimes. The "Nueva Canción" (New Song) movement, which emerged in the 1960s and 1970s, became a powerful voice against military dictatorships and social injustice across the continent.

Artists like Victor Jara from Chile, a prominent figure in the Nueva Canción movement, used his folk music to advocate for social justice and criticize the Pinochet dictatorship. His songs, filled with poignant lyrics about poverty, exploitation, and the struggle for human dignity, resonated deeply with the Chilean people. Jara's brutal murder by the Pinochet regime in 1973, just days after the coup, cemented his status as a martyr and a symbol of artistic resistance. His song "Te Recuerdo Amanda" (I Remember Amanda) remains a powerful elegy for the victims of political violence.

In Argentina, during the "Dirty War" (1976-1983), artists like Mercedes Sosa used their music to protest the military junta's human rights abuses. Her powerful voice and songs of hope and resistance provided solace and inspiration to a nation living under fear. Despite being exiled, Sosa continued to sing about the injustices in her homeland, becoming an international symbol of resistance.

In Brazil, during the military dictatorship (1964-1985), the "Tropicália" movement, led by artists like Caetano Veloso and Gilberto Gil, used innovative musical styles and cryptic lyrics to challenge censorship and express dissent. Their music, a fusion of traditional Brazilian forms with rock and psychedelic influences, was often seen as subversive by the regime, leading to their imprisonment and exile.

Even in Europe, where democratic traditions are often stronger, art has been crucial in challenging authoritarian tendencies and promoting social change. During the Cold War, in countries behind the Iron Curtain, music often became a subtle yet potent form of protest. Underground rock bands in Czechoslovakia and Poland used their music to express dissatisfaction with communist rule, often facing censorship and persecution. The Plastic People of the Universe in Czechoslovakia, for example, became a symbol of cultural defiance against the communist regime, their persecution sparking a broader human rights movement that eventually contributed to the Velvet Revolution.

In Russia, contemporary artists continue to use music to protest against government policies and restrictions on freedom of expression. The punk rock collective Pussy Riot gained international notoriety for their provocative performances and songs criticizing the Russian government and the Orthodox Church, leading to their imprisonment and highlighting the ongoing struggle for artistic and political freedom.

In the United States, music played a pivotal role in the Civil Rights Movement of the 1950s and 1960s. Spirituals, gospel music, and folk songs were adapted, and new protest songs were composed to articulate the demands for racial equality and justice. Artists like Mahalia Jackson and Pete Seeger lent their voices to the movement, with songs like "We Shall Overcome" becoming an anthem of hope and resilience. The lyrics of these songs often directly addressed segregation, police brutality, and the yearning for a more just society, providing a powerful soundtrack to the struggle for civil rights.

The influence of reggae music, particularly from Jamaica, has been profound in global movements against injustice. Bob Marley, arguably the most iconic reggae artist, became a global symbol of peace, unity, and resistance against oppression. His songs, such as "Get Up, Stand Up," "Redemption Song," and "War," transcended musical genres and national borders, inspiring countless individuals to fight for their rights and challenge systemic injustices. Marley's music often spoke of political corruption, poverty, and the struggle for freedom, particularly for people of African descent, making him a powerful voice for liberation movements worldwide.

More recently, in the United States, hip-hop music has emerged as a powerful platform for social commentary and protest against systemic racism, police brutality, and economic inequality. Artists like Kendrick Lamar, Dorminique Armani Jones, popularly known as Lil Baby and Run the Jewels use their lyrics to paint vivid pictures of urban struggles and call for social change, continuing a long tradition of music as a voice for the marginalized.

While music often takes Centre stage in discussions of artistic protest, other art forms also play a crucial role in fighting injustice, such as the Visual Arts, which are mainly used in documenting, challenging and inspiring. Visual arts, including painting, sculpture, photography, and street art, have been instrumental in documenting atrocities, challenging official narratives, and inspiring resistance.

In South Africa, during apartheid, artists used their work to expose the brutality of the regime and advocate for racial equality. Artists like Gerard Sekoto and Dumile Feni depicted the harsh realities of life under apartheid, their works serving as powerful visual testimonies to the injustices faced by Black South Africans. Street art and murals also became a common form of protest, transforming public spaces into canvases for dissent.

In Mexico, the muralist movement of the early 20th century, led by artists like Diego Rivera and David Alfaro Siqueiros, used large-scale public murals to depict the struggles of the working class, indigenous peoples, and the Mexican Revolution, challenging the dominant narratives and promoting social justice.

Photography has also been a powerful tool in exposing human rights abuses. Images of war, famine, and political repression have often galvanized international opinion and spurred action. The iconic photographs from the Vietnam War, for instance, played a significant role in shaping public perception and fueling the anti-war movement. It was a powerful tool in highlighting the amount of politically instigated violence unleashed on Kenyans in the 2007 Post-Election Violence.

Performing Arts, mainly Theatre and Dance, are also used as tools in exposing injustice and advancing social equality. Theatre and dance, with their immediate and immersive nature, can create powerful experiences that challenge audiences and foster empathy. In many authoritarian regimes, underground theatre groups have used allegorical plays and satirical performances to critique the government and raise awareness about social issues, often at great personal risk. In Eastern Europe during the Cold War, "samizdat" theatre, performed in private homes or clandestine venues, provided a space for critical thought and artistic expression that was otherwise suppressed.

In Kenya, performance arts have widely been used in critiquing governments and exposing the government's ills in terms of social injustice, corruption, intolerance and dictatorial tendencies. This was seen when Uhuru Kenyatta's government banned the play "Shackles of Doom" by Butere Girls in 2013 during the Kenya Drama Festivals, as it painted a vivid picture of a society plagued by tribalism and the skewed distribution of wealth and opportunities, an allegory of Kenya's socio-political landscape critiquing the then-President Uhuru's regime. The Kenyan Courts then reinstated the play through a petition filed. In 2025, President Ruto's regime banned the play "Echoes of War" by Butere Girls High School in the Kenya Drama Festivals as the play criticises the current administration, spotlighting issues such as broken promises, youth disenfranchisement, and excessive taxation. It saw the tear gassing of the Butere Girls inside their bus by the Kenyan Police after a court order was issued allowing them to perform the play. Still, the government put forth a measure that they would allow the play to be performed, but without an audience and the necessary materials like backdrops. This led to a confrontation as other students and Kenyans at large supported the play being performed in its original nature and with an audience. This instance showcased how the Ruto government is afraid to look at the mirror and how it stifles dissent. A government which fights, uses tear gas, and shoots dead its young generation. This government is insecure and no longer democratic, unlike its party name, the United Democratic Alliance, but has become tyrannical and increasingly insecure and dictatorial.

Dance, too, can be a form of protest. Traditional dances, when performed in new contexts or with modified movements, can convey messages of resistance and cultural pride. In various indigenous communities facing land dispossession or cultural assimilation, dance has been used to assert identity and protest against oppression.

These instances represent just a fraction of the countless instances where art has been used to fight human injustice, colonization, authoritarianism, and dictatorship. The power of art lies in its ability to: Humanize the struggle as art can put a human face on abstract political issues, fostering empathy and understanding.

Mobilize and unite: Shared artistic experiences, especially music, can create a sense of community and solidarity among those fighting for a common cause.

Preserve memory and history: Art serves as a historical record, ensuring that the struggles and sacrifices of past generations are not forgotten.

Challenge censorship and propaganda: Through metaphor, allegory, and subtle messaging, artists can bypass official censorship and disseminate alternative narratives.

Inspire hope and resilience: In the darkest of times, art can provide solace, courage, and a vision of a better future.

Educate and raise awareness: Art can bring complex social and political issues to a broader audience, sparking dialogue and encouraging critical thinking.

In an increasingly interconnected world, artists continue to leverage new technologies and platforms to amplify their messages. Social media, online streaming, and digital art forms provide unprecedented opportunities for artists to reach global audiences and contribute to movements for social justice. From protest songs shared on YouTube to digital art campaigns on Instagram, the spirit of artistic resistance remains vibrant and adaptable. The fight for human rights and good governance is an ongoing process, and art will undoubtedly continue to be a vital tool in this struggle. As long as injustice persists, artists will find ways to use their creativity to challenge power, inspire change, and advocate for a more equitable and humane world. The enduring legacy of artists who have stood against oppression serves as a powerful reminder that creativity is not merely an aesthetic pursuit but a fundamental force for social transformation.