Comedian and Churchill Show star MC Jessy has recently clarified the motivations behind his decision to enter politics, stating that his ambition was never about accumulating wealth but about advocating for the creative community in Kenya. The comedian’s remarks came during a candid conversation with musician Bien, where the two discussed the intersection of politics and the arts, and the challenges faced by creatives in Kenya.
Bien, a popular musician known for his role in the band Sauti Soul, had raised doubts about MC Jessy’s decision to venture into politics. He questioned why a successful comedian with such a strong following would choose to pursue a political career, especially when the public often views politicians as self-serving individuals seeking personal gain. In his opinion, Jessy’s prominence as a comedian placed him in a unique position to influence positive change for Kenyan creatives without necessarily entering the political arena. Bien encouraged Jessy to remain within the industry and use his platform to champion the interests of his fellow artists directly.
However, MC Jessy firmly disagreed with Bien’s viewpoint, explaining that his political ambitions were deeply rooted in his desire to create a better environment for creatives and other constituents in South Imenti, the region he represented. Jessy clarified that his primary motivation was not financial, but rather the development of legislation that would support the creative industry. He argued that, although he could have advocated for these issues without becoming a Member of Parliament (MP), holding political office would allow him the resources and influence to push for more significant, long-lasting changes.
“I’ve been in the creative industry for a long time, and one of the biggest challenges we face is the lack of legal protection and financial support,” Jessy explained. He emphasized the need for a Creative Economy Bill, a legal framework that would establish a dedicated fund to support artists and safeguard their rights. His vision includes setting up a council with a director to manage the fund and ensure that artists are fairly compensated for their work. Jessy further stressed that his commitment to public service extended beyond the creative sector, with a strong focus on improving local schools, healthcare, and security in his constituency.
Despite Jessy’s clear explanation of his motivations, Bien remained unconvinced. He argued that politics could, in fact, undermine Jessy’s creative influence. Bien pointed out that the political landscape often involved compromising personal values and getting caught in power struggles, which could detract from the work of an artist. “Everything you mentioned could be achieved without being an MP,” Bien argued. “An artist can create meaningful change without entering politics you risk being pulled down by the political scene.”
This debate highlights a larger conversation that has been brewing in Kenya’s creative circles, where many artists are questioning the best way to influence change. On one hand, politicians like MC Jessy argue that holding office is a way to create structural change that benefits the industry as a whole. On the other hand, creatives like Bien believe that remaining outside the political system allows artists to maintain their independence and focus on what they do best creating art.
MC Jessy’s stance underscores the growing importance of the creative economy in Kenya. With the rise of digital platforms and an increasing global interest in African art and culture, the creative sector has become a significant driver of economic growth. Yet, despite its potential, many creatives continue to struggle with issues such as insufficient funding, lack of legal protections, and limited access to platforms that could help them thrive.
As MC Jessy continues his political journey, his efforts to push for a Creative Economy Bill may serve as a crucial step toward ensuring that Kenya’s artists receive the recognition, support, and protection they deserve. Whether or not politics is the right path for him, it is clear that Jessy is determined to use his position to advocate for the future of Kenyan creatives. The debate between Jessy and Bien may be just the beginning of a broader conversation about the role of artists in shaping Kenya’s future.
