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In 2018, Kenneth Okoth, a member of Parliament for the Kibra Constituency in Kenya, introduced a Marijuana Control Bill in parliament. Okoth's bill sought to legalise the growth and use of cannabis, establish a system for the registration and licensing of cannabis growers and users, promote the use of cannabis for medicinal purposes, and increase public awareness of cannabis. This last point is critical in that Okoth understood that public knowledge of cannabis was shallow at the very moment when the country was debating prohibition, and he considered public awareness a critical component of this debate. Undoubtedly, the shallowness stems from a dearth of scholarship on cannabis in Kenya and East Africa. This study attempts to close the gap on the historiography of cannabis in Kenya. It historicises cannabis before the country's independence in 1963, revealing that the British colonial government sanctioned cannabis for medicinal use but prohibited it for recreational purposes among Africans. The essay grounds the history of cannabis in Kenya within a longer history of making and re-making citizens and contributes to a more complex understanding of how bodies, goods, and ideas move across time and space.

The postcolonial government in Kenya has embarked on a sustained war against identity by banning locally and internationally produced motion pictures that depict LGBTQ themes in the ongoing national discourse on gender identity. In 2014 and 2018, the government effectively banned two films by local directors (The Stories of Our Lives and Rafiki) for including the LGBTQ community in this discourse. Within the same period, officials banned The Wolf of Wall Street and Fifty Shades of Grey, both by international directors, for their explicit sexual content. The bans attracted public attention and triggered a debate over the country's censorship laws in particular and gender identity in general. However, while paying specific attention to postcolonial censorship laws that aimed to retain the status quo, the debaters failed to ground their arguments in their proper historical context. To better understand censorship in Kenya, we must first understand its history during the colonial period , a period that saw the colonizer attempt to construct for the colonized a morally acceptable identity. This construction saw the British colonial government shield African cinema audiences from films that they thought would teach them undesirable behaviors. To achieve this goal, censorship officials censored films with "questionable" scenes. This study connects the present and the past, broadens present censorship and gender debates by deepening our collective imagination of real and imagined laws, and incentivizes the debaters to think broadly about continuity without change in Kenya. It vacates rigid chronologies and does not purport to provide a definitive history of censorship and identity during the two historical periods, even if such a history were possible to produce. Broadly, the study situates censorship within a long history of framing and re-framing identities and, consequently, contributes to a more complex understanding of the chaotic interplay among power, art, and identity.

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