Why Kenyan women creatives are leaving the industry despite its promise

When Wanja Githua walked away from a well-paying bank job in 2020 to become a tribal body artist, most of those close to her thought she had lost her mind. Friends and relatives had watched her build a promising banking career. Now they could not understand why a graduate would give it up for painting on skin.

But Wanja had made up her mind. The career she felt passionate about was calling and there was no turning back. Today, she works as a tribal body artist, creating sacred, symbolic and decorative art on the human skin using painting, scarring and tattooing. The work speaks to her heart and she has no regrets. Yet the path she chose has been far from easy, she says.

Most of Wanja's work happens at night during events, which means her safety is often on the line. “As a female creative, I have to always be on high alert whenever I work at night during events. I have to either leave early or look for good company. I have to always be conscious of my surroundings to ensure I am safe,” she tells the Nation.

Beyond safety concerns, Wanja says sexual harassment is common in her line of work. She often faces unwanted remarks about her body while working. “I always experience unwanted comments about my body – casual and disrespectful comments that make me uncomfortable. I always make sure I draw the line and never entertain such moves.”

Read: How to harness the potential of women in the creative industry

Money is another constant worry. Income from creative work is unpredictable, and Wanja feels the country does not do enough to support artists. “We have a country that does not appreciate its creative industry the way it should be. There is no government assistance that I know of and help from nongovernmental organisations (NGOs) is limited.”

She is now urging event organisers to take safety more seriously. “Corporates and event organisers need to put in extra care for female creatives by hiring more women as staff and security officers.”

She points to the pay gap between male and female creatives doing the same work with the same qualifications, and is calling for equal pay across the board. Wanja gets most of her gigs through exhibitions, art-related events, conferences and word of mouth. Like other tribal body artists, she uses natural materials to mark milestones such as coming-of-age, social status or tribal identity.