Abstract:Although scholars have noted the rising potentials for democracy in Africa as a result of increased use of digital media and mobile technologies, there seems to be a disregard or disavowal of queerness as part of that growing democratic space, as well as a related tendency to regard African culture solely in terms of mainstream writing and journalism. This article seeks to bridge this gap in the scholarship by means of a discourse analysis of comments about queer identities that can be found in the digital media (Facebook, chat rooms, blogs, YouTube comments, and online newspaper feedback) in contemporary Kenya. Following work on queer arts and “low” theory, the article explores the possibilities offered by the Internet to challenge homophobia in Kenya. While acknowledging that digital-media venues contain more homophobia than mainstream media (books, television, newspapers) in terms of intensity and quantity, the article demonstrates that they also offer a unique platform in which gay people can respond to homophobic representations of their experiences and desires.

past and contemporary Kenya is evoked to claim that Kenya, and Africa at large, is still going through the painful experiences of colonial oppression despite having attained flag freedom. It expresses disillusionment with current leaders, rather than a wish to return to the past. The Incomplete Rebellion: Mau Mau Movement in Twenty-First-Century Kenyan Popular Culture Evan Mwangi This paper concerns the simultaneous and contradictory conceptions of Kenyan history by rereading popular representations of the Mau Mau war of Kenyan independence and its postindependence consequences. It examines twenty-firstcentury evocations and appropriations of Mau Mau in relation to earlier discourses in literature and politics. It discovers that contemporary artists and citizens deploy references to MauMau outside of its historical context to address, in highly emotive language, contemporary problems in Kenya, such as runaway corruption and police brutality. It reads emergent artists and writers against the background of more dominant and canonical work to demonstrate the evolution of popular memory and the need to consider everyday, marginal, and liminal texts in a postcolonial context where the perspectives of ordinary people are excluded from official archives.

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