This article examines the detrimental effects of Kenya’s wide-ranging policies, strategies and tactics of waging the war on terror at the Kenya coast. The ‘war’ is waged through police-related killings and enforced disappearances and is becoming counterproductive as it is contributing to a loss of citizenship rights for an increasing segment of the population. These grievances are rarely portrayed in the public sphere but continue to manifest in the suffering of families, livelihood losses, increased stigmatisation and, most importantly, through violation of the citizenship rights of widows and their orphaned children. Using interview data from the Kenya coast, the article attempts to shift beyond perceiving women and young people as perpetrators of violence to seeing them as silent victims of the war on terror. The article analyses these dynamics from community and civil society perspectives. It contributes to the emerging literature on women and violent extremism by examining the silent suffering of widows and their children, who often are neither seen nor heard.

In this personal essay, I reflect on the how cultural shifts in the British art world establishment, have enabled black artists who came of age in the Eighties, to enjoy late career success. I’m particularly interested in the careers of black women, who have traditionally been more overlooked by their male counterparts. I start with my own desire to connect to my Nigerian/African heritage when I was a young woman, one who had grown up brainwashed by the colonial project, and talk about the changes I have witnessed since the Eighties. I interrogate the value placed on transnational artists with ancestral ties to Africa by the art establishment then and now, and how those artists who are currently exhibiting in major art galleries and museums are often showing work created decades ago. This begs the question, if not then, why now? The article arises from a British Academy Lecture delivered on 9 November 2023.