Music and fashion alone are multi-billion-dollar global industries. With proper structuring clear policy, funding, intellectual property protection, and market access, Kenyan creatives can transition from informal hustles to sustainable enterprises.

As chants of “one term” and “two term” echo across political spaces, it is worth asking a more grounded question: what do Kenyans really want? Because beneath the noise, beyond the rhetoric, lies a country grappling with real issues jobs, opportunity, identity, and growth.

It cannot be all gloom.

There are signals some subtle, others deliberate that point toward a government attempting to engage sectors long overlooked. One such moment came this past Saturday, when William Ruto became the first sitting president to attend the Kalasha Awards, held at the Kenyatta International Convention Centre.

For many, that may have seemed symbolic. But symbols matter—especially to an industry built on storytelling.

What Are the Kalasha Awards and Why Do They Matter?

The Kalasha Awards, organized by the Kenya Film Commission, celebrate excellence in film, television, and increasingly, digital storytelling. They bring together creators, producers, broadcasters, and cultural stakeholders essentially the entire ecosystem of Kenya’s creative economy.

But this is more than a red carpet affair. It is a convergence point for an industry that is quietly becoming one of the most powerful drivers of youth employment and cultural influence.

And this is where the conversation shifts.

The Creative Economy: A Youth Story Waiting to Be Told

Who is the creative economy for?

The youth.

In a country where youth unemployment remains one of the most pressing challenges, the creative sector offers something few traditional industries can: low barriers to entry, scalable opportunity, and global reach.

From film and television to music, fashion, digital content, and gaming, the creative economy is no longer a side conversation it is a central pillar of modern economic development.

Globally, the creative industries contribute an estimated 3% to 6% of GDP and employ over 30 million people, making it one of the fastest-growing sectors worldwide. For a country like Kenya young, dynamic, and culturally rich the potential is even greater.

Music and fashion alone are multi-billion-dollar global industries. With proper structuring clear policy, funding, intellectual property protection, and market access, Kenyan creatives can transition from informal hustles to sustainable enterprises.

So again, what do Kenyans want?

Jobs? Opportunity? Recognition? Global relevance?

Because the creative economy speaks directly to all four.

A President’s Signal or a Policy Direction?

At the Kalasha Awards, President Ruto’s presence was accompanied by commitments that, if implemented, could reshape the industry:

A pledge to allocate 30% of a dedicated budget to a creative platform

A call to fast-track the Creative Economy Bill, 2026

Pledge to increase the creative economy to 1B from 600 and offered every kalasha winner 500k. The other day last week he also gave Sebastian sawe 8m

It's also interesting that our president supports local crestives and actively watched njoro wa uber because his stories relate to evey day issues  and setup.

Commitment to strengthen copyright and intellectual property laws

Plans for State House to bid to host future Kalasha Awards

A proposal to establish a creative office at State House, including roles such as Director of Games and Heads of Music and Fashion

These are not small gestures. They point toward an attempt to institutionalize creativity placing it at the heart of national development.

This aligns with earlier commitments under the Bottom-Up Economic Transformation Agenda: supporting local content production and distribution, expanding funding for creative enterprises, investing in training and infrastructure, and protecting intellectual property rights.

If executed effectively, this is not just policy , it is pipeline building for millions of young Kenyans.

From Passion to Industry

Kenya’s creative industries film, television, fashion, performing arts, and digital content are increasingly recognized as engines of:

Employment

Youth empowerment

Tourism growth

Global cultural visibility

But recognition alone is not enough.

There is an urgent need to professionalize and scale:

Strengthen production capacity

Build sustainable distribution channels

Position Kenyan stories for both local and international markets

Because talent is not the problem. Structure is.

What the Kalasha Awards Highlighted and What Lies Ahead

This year’s Kalasha Awards highlighted not just excellence, but evolution the shift toward digital storytelling, the rise of independent creators, and the growing influence of Kenyan narratives beyond borders.

Looking ahead, there is ambition to expand the awards into a more globally recognized platform one that attracts international partnerships, investment, and distribution opportunities.

If State House follows through on hosting and institutional support, Kalasha could become more than an awards show. It could become a continental creative hub.

So, What Do Kenyans Really Want?

Do we want to remain in cycles of political chants?

Or do we want to engage in a deeper national conversation about opportunity, innovation, and growth?

Because while criticism is necessary in any democracy, so is perspective.

The creative economy is not a distraction.

It is not a luxury.

It is a lifeline,especially for the youth.

And if the current administration is making deliberate steps however early or imperfect to invest in that lifeline, then it deserves scrutiny, yes but also acknowledgment.

Kenya cannot afford to ignore an industry that turns stories into income, culture into capital, and talent into transformation.

So again, the question stands:

What do Kenyans really want?

Because the answer may very well shape not just the next election but the next generation.