How Kenyan Youths Use Matwana Culture to Capture the Zeitgeist of their Generation

If you are familiar with Nairobi then you must know that the streets are mostly synonymous with graffiti sheathed mini-vehicles and buses. Known as Matatus, these vehicles are the go to for transit within the city and beyond. They are usually associated with artsy outlooks, booming music and loudy touts known as dondas.

But while these features are instantly visible to a passerby, the Kenyan Matatu is representative of more. Beyond the graffitied van-walls, which range from retro to modern innovative designs, they are also the portrayal of the essences in the Kenyan urban landscape. A demonstration of the people’s dispositions and inspirations at a particular moment in time.

Historical Context 

This habit of decorating using guerrilla art became prominent in Nairobi in the early 2000’s. Going with the mood in the country at the time, which was the newly found sense of freedom fuelled by the end of a 24-year dictatorial reign, young people embraced the feeling by making their presence felt through this kind of artistry. Although the Matatu as a means of transport had been around from back in the 60’s, around this period it underwent a kind of renaissance. This can be seen depicted through mediums such as music videos from that era. A prime example is a video from one of the biggest songs from the period, Kenyan Gal, Kenyan Boy, released in 2004 by the now defunct musical group Necessary Noize.

In the song, the sight of Matatus, as well as it’s reference in the lyrics, is prevalent. It captures the inclination of the generation at that time. They are seen to showcase reggae music, football clubs and surrealist art. These depict the trends of the which Jamaican music, the burgeoning popularity of the English Premier League, and, as previously stated, a sense of newly discovered freedom.

This became a normal practice over the years. Images of musicians, actors and at times historical figures would constantly appear pimped-out on the Matatus that seemed to only increase in numbers as the urban population increased. With the art still much reflective of the present times. In the political season, some Matatus exhibit faces of preferred candidates. In monumental times, some lean towards showcasing historical figures relevant to current happenings. And as expected, those with affinity for sport showcase their favourite sports clubs and athletes while those with affinity for music showcase their favourite artists and songs.

Capturing A City’s Ambience 

In recent years, beyond being a source of income for the artists, Matatu art has also become one of the major mediums of creative expression for the youth. As Nairobi based Artist Ben Gutu tells me, in recent years they have turned the industry into an unconventional kind of iconoclast:

“At first the culture was seen as a substandard rebelliousness. Maybe due to the long held perception of those in the Matatu industry as inconspicuous. But the art is there to change the view. It tells of people long perceived as unpleasant, but are really not. What informs that which is drawn on those van-walls is our own natures. The art is a narration of a generation’s sense of artistic freedom in this city and its environs. It tells of how in this city, a young person is not devoid of inspiration, aspirations and delights.”

This observation of his, apart from revealing an art that is being used to change a long held stereotypical narrative, is also a clear indication of a movement existing as that form of self-expression that generations of youthful Kenyans, present in the past two decades or so, have employed. In Nairobi if one wants to know the sentiments at a particular moment and period, you simply have to take keen look at the vehicles bypassing you in the always busy streets. This is also something that Nairobi based photographer Derrick Matheka ascertains. Having endeavoured to document the industry through his photography, he says:

“I take pictures of the Matatu’s because I want to understand my people. Nairobi culture is reflected in art. Matwana art is one of the forms that captures that. Through my lens I get to understand the core delights of Nairobians. Because a matatu is two things: The semblance of either the owner or the artist commissioned to graffiti it. In a Matatu if I see the picture of a player in Chelsea blue then I understand the owner’s or Artist’s delight is a weekend football and specifically watching the London team play. If I see the picture of 2 Pac, Jay-Z or Notorious B.I.G, then I realise behind this are ones who delight in listening to poetic rap from an era. With this I get to understand my people’s lives and influences.”

Resilience In The Face Of Restrictions

Despite the boom in popularity , the ‘art on wheels’ scene has faced it’s fair share of challenges. Most of them are imposed by restrictive laws that pop up on occasion from the government. From ones that limit on the amount of art to be drawn on the van-walls to sometimes also the type of art. For example, In 2004 at the height of the trend gaining some notability,  the government imposed hefty restrictions on graffiti art in public transport vehicles as part of the so-called ‘Michuki Laws’. While this did not deter the artistic spirit of Nairobi guerilla art creatives,  it made the habit a rather underground endeavour . It was not until 2014 that the set restrictions were removed by the President at the time, Uhuru Kenyatta , as part of his attempts to tackle the unemployment crisis in the country using arts.

Nairobi poet and Matwana culture fanatic Marvin Kabutu says such restrictions are the one thing that truly constrains the industry:

“When the government comes up with these moderations on occasion, they create hindrances to the progress of the industry. Matwana culture and art is a source of employment for a lot of young artists. Limitations means keeping away investors and also limiting the amount of work the artists get. It also means limiting the Nairobian self-expression, which is made possible and reflected through the amazing Matwana artistic movement.”

But despite this he envisions a culture that will still continue thriving. He says “The good thing about art being made a people’s voice is that the art form brings upon some resilience. I am a fan of Matwana guerrilla art because through it I get to feel connected with my city. It is the sound of my generation and despite any restriction it will continue being uttered.”

Nairobi, the city under the sun, is a place synonymous with the signification of delights, vivid aspirations and achievable dreams. What Matwana artistic culture has provided is a tool for the revelation of this distinct nature of a city and an avenue to shout this out. The 21st Century Nairobian youth has found an outlet that is profound and unique. And as a young person myself living in the city I also proclaim what my compatriots do on occasion: “Long Live Matatu Matwana Culture”.