State Officials Acknowledge Creativity Behind the Silhouettes While Addressing Public Discontent
Silhouettes resembling President William Ruto and other government officials have been circulating widely on social media for several weeks, becoming a significant symbol of public dissatisfaction with the Kenya Kwanza government. These images, often used to express discontent and mock the administration, have gone viral, fueling debates across various platforms. The silhouettes, which are often seen as a form of digital protest, have captured the attention of both citizens and government officials alike. This has prompted a response from the country’s leadership, which is clearly concerned about the impact of these images.
In an interview with Citizen TV, Raymond Omollo, the Principal Secretary for the State Department of Internal Security and National Administration, was asked if the government was actively pursuing the individual behind these viral silhouettes. Omollo responded with a mix of surprise and praise for the creator’s ingenuity. Rather than taking a hardline stance, he expressed amazement at the creativity involved, suggesting that the government would not pursue the individual behind the images. “I was surprised at the level of creativity this person has demonstrated. It’s not something we would want to pursue,” Omollo said, adding that it was important to acknowledge the technological opportunities these kinds of digital expressions provide.
Omollo’s comments took a positive turn as he considered how the government could potentially harness such creativity and technology for greater social impact. “Even though we might not like it, it shows there are opportunities out there. There is so much that can be done with technology, and we should probably take a cue from some of these people,” he said. His words suggested a more open approach to the situation, one that saw the protest as a chance to engage with technology in a constructive way, rather than viewing it purely as an act of defiance. Omollo also suggested that the individual behind the silhouettes might be able to capitalize on their creativity by exploring non-controversial ways to make money. “They can even look for ways to monetize it in a manner that isn’t ridiculing,” Omollo proposed, offering a practical suggestion for the creator to use their talent in a more respectful and potentially profitable manner.
Despite Omollo’s relatively diplomatic response, the situation sparked further action from Ruto’s communication team. In an attempt to counter the viral silhouettes and shift the public narrative, the president’s team launched a public relations campaign to highlight Ruto’s accomplishments since taking office. On November 14, Dennis Itumbi, a key member of Ruto’s communication team, shared a graphic under the hashtag #RutoDelivers. The graphic emphasized the achievements of the Ruto administration, including expanded manufacturing, infrastructural projects, and other developments. Itumbi’s post aimed to highlight the positive strides made by the government, attempting to counter the negative image presented by the viral silhouettes.
Ruto’s daughter, Charlene, also joined in the effort, sharing one of the graphics that claimed inflation had decreased under her father’s leadership. This attempt to shift the focus toward the administration’s successes was part of a broader PR push to combat the growing dissatisfaction expressed by the public through the silhouettes and other forms of digital protest. However, the government’s effort fell short of convincing many Kenyans. In fact, rather than providing the intended support for the administration, the graphics were quickly edited by social media users to reflect a more critical view of Ruto’s government. These edited versions of the graphics quickly went viral, underscoring the challenge the government faces in convincing the public of its achievements amidst widespread discontent.
The controversy surrounding the silhouettes and the government’s response to them highlights the growing influence of social media as a tool for political expression in Kenya. The incident also sheds light on the challenges faced by the Kenya Kwanza government in addressing public dissatisfaction, especially as digital protests continue to evolve and gain momentum. As the debate continues to unfold, it remains to be seen how the government will engage with these forms of online dissent and whether it can effectively shift public opinion in its favor.
