A firestorm of controversy has erupted around Butere Girls High School after it emerged that former UDA Secretary-General Cleophas Malala directed the school’s drama play, Echoes of War.
The decision has triggered a nationwide debate, drawing sharp criticism from education officials and sparking rumors of disciplinary action against the school’s principal—rumors that the Teachers Service Commission (TSC) has now dismissed as false.
Amid growing public scrutiny, Kakamega County TSC Director Wilson Koros has come forward to quash reports that the school principal has been transferred. Speaking to Stateupdate, Koros clarified that no official communication regarding any transfer has been made.
“I have also seen the reports online, but they are not true,” Koros said. “There is no official communication regarding any transfer of the Butere Girls principal. I am currently in Naivasha for a training alongside my regional director, and I have not authorised such claims. There is nothing even close to that.”
Despite this assurance, the controversy continues to intensify following a scathing statement from Education Cabinet Secretary Julius Ogamba. In a press briefing on Thursday, Ogamba slammed the school administration for violating national guidelines by engaging a non-teacher to direct the play.
Ogamba cited Section 9.0 Note C of the Kenya National Drama and Film Festival (KNDFF) guidelines, which strictly states that only TSC-registered teachers or accredited lecturers from recognised post-secondary institutions are permitted to train or direct student performances.
“The rules are crystal clear,” Ogamba declared. “We cannot allow people to weaponise school children against authority. Let political wars be fought by politicians outside of learning environments.”
The CS’s remarks clearly allude to Malala’s past as a political operative and the possible political undertones embedded in Echoes of War—a powerful production that reportedly touches on themes of leadership failure, state brutality, and civic resistance. Critics have argued that the play may have carried subliminal messages critical of the current administration.
Ogamba’s concerns went further. He highlighted a likely breach of Regulation (x) of the drama and film festival rules, which forbids hate speech or derogatory content directed at individuals, communities, or genders—whether on stage or online. “The school administration failed in its duty to protect learners from undue influence and failed to uphold professional conduct,” he said.
The TSC Code of Conduct and Ethics (2015) was also referenced in the press statement. The code demands that school heads maintain professional boundaries and prevent external, unauthorised parties from interacting with students in a teaching or mentorship capacity. According to Ogamba, Butere Girls’ engagement with Malala is a direct violation of this code.
The controversy has also raised larger questions about political influence in schools and the vulnerability of students to ideological manipulation. The presence of a known political figure directing a student production has not only broken procedural norms but also rattled the education sector, already grappling with issues of policy adherence and integrity.
Yet, the controversy also highlights a persistent tension between creativity and control in Kenya’s co-curricular space. Supporters of the play argue that Echoes of War is a bold artistic expression that holds a mirror to society’s challenges—especially for a generation of youth increasingly attuned to national issues. For these advocates, the reinstatement of the play into the Kenya National Drama and Film Festival is a win for artistic freedom and student empowerment.
But the Ministry of Education doesn’t see it that way.
In his statement, Ogamba made it clear that while the Ministry supports creative expression, it will not compromise on rules. “We are committed to nurturing talent,” he said, “but we must do so within the bounds of professional standards and national policy.”
It remains to be seen whether disciplinary action will be taken against the school leadership, or if further investigations will uncover additional breaches of protocol. As for Malala, he has yet to publicly respond to the accusations or provide his side of the story.
What’s undeniable, however, is that Echoes of War has become far more than a school play. It is now a national symbol of the complex intersection between politics, education, and free expression in Kenya. And as the drama continues—on and off stage—Kenyans are left questioning just how much freedom students should have in expressing dissent and whether political shadows should ever be allowed to fall on school walls.
For now, the TSC maintains that no transfer has taken place and that online rumors are just that—rumors. But the debate is far from over.
