The creative arts and film industry in Kenya has grown immensely in the last decade, driven by technological advancements, increasing demand for local content, and a surge in the number of young creatives eager to explore the world of storytelling, cinematography, and digital media. With this growth, however, comes a significant responsibility to ensure that the content being produced not only entertains but also adheres to cultural values and protects vulnerable audiences, particularly children, from harmful materials. Recognizing this need, the Kenya Film and Classification Board (KFCB) has taken proactive measures to regulate and guide content creation in the country.
In partnership with the Sports, Arts, and Social Development Fund (SASDF), KFCB has launched the Creative in Arts and Film Literacy (CAFIL) program. The initiative is part of a broader strategy to empower creatives, while ensuring that the content produced aligns with Kenyan cultural norms and safeguards young audiences from inappropriate audio-visual materials. This comprehensive literacy program is being rolled out in key regions including Nairobi, Kisumu, Nakuru, and Embu, and is designed to reach a wide range of stakeholders within the creative industry, from filmmakers to YouTubers and voice-over artists.
The CAFIL Program: A Cultural Safeguard and Economic Driver
The CAFIL program is not only a literacy initiative aimed at enhancing content creation standards; it is also a key pillar in Kenya’s economic and cultural strategies. Specifically, it aligns with the Fifth Pillar of the Big Four Agenda (BETA), the Talanta Hela Initiative, and Vision 2030, which emphasize the monetization of talents, job creation, and socio-economic development through arts and culture. By equipping creatives with the knowledge and tools needed to produce high-quality, culturally appropriate content, KFCB aims to contribute to the growth of Kenya’s creative economy.
KFCB Acting CEO, CPA Paskal Opiyo, emphasized the importance of this initiative during a CAFIL stakeholder engagement forum at the Technical University of Mombasa (TUM). “By implementing this program and supporting initiatives that are geared towards talent nurturing and monetization, KFCB hopes to contribute to a thriving creative economy that supports the monetization of talent for job opportunities and socio-economic development,” he remarked. Opiyo’s statement underscores the dual goals of the CAFIL program: ensuring that content reflects Kenyan values and empowering creatives to turn their talents into viable economic ventures.
The CAFIL program is also a significant step toward ensuring that children are protected from harmful audio-visual content. As the creative industry expands and more young people access content through platforms like YouTube and social media, the need for self-regulation among content creators has become increasingly urgent. KFCB’s efforts in this regard are aimed at fostering a culture of responsible content creation where filmmakers and digital creators can strike a balance between creativity and social responsibility.
Streamlining Filmmaking: The KFCB Handbook
In addition to the CAFIL program, KFCB has produced a comprehensive handbook that serves as a one-stop resource for filmmakers in Kenya. The handbook contains vital information regarding the regulations that govern the film industry, including guidelines for obtaining permits and licenses. It also covers procedures for the importation of drones from the Kenya Civil Aviation Authority, as well as filming in protected areas such as parks and forests, which are managed by the Kenya Wildlife Service and Kenya Forest Service, respectively.
According to CPA Opiyo, the handbook is designed to simplify the often cumbersome process of obtaining necessary documentation for film production. “The government intends to ensure the works of content creators are as smooth as possible. Content creators will no longer have to walk to many offices. You simply need to refer to the handbook, and you’ll have the contacts of the people that you need to talk to them, and they will support you,” he explained.
The availability of such a resource is a significant step in reducing the bureaucratic hurdles that have previously hindered filmmakers in Kenya. By streamlining the licensing and regulatory process, KFCB is not only promoting ease of doing business in the film industry but also encouraging more filmmakers to adhere to the legal and ethical standards that govern content production.
Licensing for filmmaking in Kenya is now exclusively handled by KFCB, a move that centralizes the regulatory process and ensures that all content adheres to the board’s classification standards. Regional offices in Kisumu, Kakamega, Nakuru, Eldoret, Garissa, Embu, and Nairobi have also been established to facilitate this process and make it more accessible to content creators across the country. KFCB’s efforts to simplify and demystify the regulatory framework have been well-received by the creative community, who view it as an enabler rather than a hindrance to their work.
Self-Regulation in the Era of Social Media
One of the most significant challenges facing content creators today is the rise of social media and its far-reaching impact on content dissemination. Platforms like YouTube, TikTok, and Instagram have become major avenues for content creators to reach their audiences, but they have also introduced new challenges in terms of content regulation and classification. As CPA Opiyo noted, “The space is too wide, and the laws and regulations are trying to catch up on the pace of social media.”
In response to these challenges, KFCB has introduced self-classification training for content creators, enabling them to better understand KFCB’s ratings and regulations and to self-regulate their work. This move acknowledges the vast and dynamic nature of the digital content landscape and empowers creators to take responsibility for ensuring that their content is appropriate for different audiences.
This approach has been praised by content creators, who appreciate the flexibility it affords them while also ensuring that they remain compliant with regulatory standards. Laureen Ndosanjo, an actress, highlighted the importance of these guidelines, especially in protecting children. “On holidays, children are prone to stay up late watching YouTube on TV. The guidelines will help us on what they are going to watch because now the internet is available everywhere,” she said.
Similarly, Waridi Rehema, an up-and-coming YouTuber and voice-over artist, emphasized the importance of cultural values in content creation. “Being an African and in an African setting, we have our cultural norms and our values. It will help me in my content creation to embody that. It is going to also help me understand regulatory rights and intellectual properties,” she said.
By encouraging self-regulation, KFCB is fostering a responsible and ethical creative industry that is not only profitable but also socially conscious. This is particularly important in the context of children’s exposure to content, as digital platforms have made it easier than ever for young audiences to access a wide range of materials, some of which may be inappropriate or harmful.
The Role of Higher Education Institutions
The partnership between KFCB and institutions like the Technical University of Mombasa (TUM) is another key aspect of the CAFIL program. TUM’s Vice-Chancellor, Prof. Laila Abubakar, expressed the institution’s support for the program, noting that it aligns with their mission of advancing knowledge through practical application. “At the end of the day, they will be able to become job creators and not job seekers. Today’s event is a very good opportunity because we want to link our students with the industry and the regulators,” she said.
By integrating the CAFIL program into their curriculum, universities like TUM are equipping their students with the skills and knowledge needed to navigate the complexities of the creative industry. The handbook provided by KFCB will serve as a valuable resource for students pursuing communication and film studies, helping them understand the regulatory framework and guiding them in creating content that is both creative and compliant with cultural and legal standards.
Conclusion: A Bright Future for Kenya’s Creative Industry
The CAFIL program marks a significant milestone in Kenya’s efforts to develop a robust and sustainable creative economy. By empowering creatives with the tools and knowledge needed to produce high-quality, culturally appropriate content, KFCB is laying the groundwork for a thriving industry that not only entertains but also educates and uplifts society.
At its core, the program is about striking a balance between creativity and responsibility—ensuring that Kenya’s rich cultural heritage is preserved while also fostering innovation and economic growth. As more content creators embrace self-regulation and adhere to KFCB’s guidelines, the future of Kenya’s creative industry looks brighter than ever. With the continued support of the government, educational institutions, and industry stakeholders, Kenya is well on its way to becoming a global leader in film and content creation.
