Actors
- Lady in Brown
- Mbeki Mwalimu
- Lady in Purple
- Nini Wacera
- Lady in Blue
- Rebecca Langley
- Lady in Yellow
- Melissa Kiplagat
- Lady in Red
- Marianne Nungo
- Lady in Orange
- Wanjiku-Victoria Seest
- Lady in Green
- Tana Gachoka
Silenced No More · Artistic work
For Colored Girls
Sensual, elegant, and revolutionary — a choreopoem of unapologetic women gathering themselves back into life.
For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf became the artistic core of Silenced No More in Kenya — not as illustration, but as a field of unapologetic women: revolutionary in feeling, elegant in form, and unafraid of beauty, desire, grief, or speech.
Artistic frame
This page holds the artistic work itself: the women, the dresses, the color, the breath, the circle, the charge of presence. It does not document the wider intervention around the project. It stays with the stage.
Built around Ntozake Shange’s choreopoem, the production moved through tenderness, flirtation, collapse, self-naming, collective witnessing, and release. The image world was stripped back and sensorial: black space, sculptural blocks, bare feet, and a chromatic cast whose bodies carried the emotional architecture.
What emerged was a language of feminine assembly: sensual without apology, politically awake without turning rigid, revolutionary without losing elegance. Each woman arrived not as background, but as force — color, voice, rhythm, wound, wit, glamour, and will.
Color as identity
Barefoot stage energy
Choreopoem
Feminine assembly
Sensual stage language
Witnessing
Release
Color as identity
Barefoot stage energy
Choreopoem
Feminine assembly
Sensual stage language
Witnessing
Release
Scene one
The circle opens
The production begins with the women already holding a world between them — poised, listening, interrupting silence with color, laughter, and ritual attention.
Scene two
Touch, teasing, recognition
Some of the strongest images come not from speech but from the way the women meet one another physically — palm to palm, smile to smile, body to body — as if memory itself is being passed between them.
The sensuousness of the work is not decorative. It lives in texture, timing, and relation: the softness of fabric, the curve of a shoulder, the confidence of a woman entering her own color, the pleasure of being seen by other women who understand the cost of survival.
The stage remains spare so that gesture can thicken. A lifted arm, a shared glance, a half-smile, an angled hip — these become compositional events.
Scene three
Presence in close-up
The production trusted the face. It allowed delight, vulnerability, boldness, and self-possession to arrive without over-explaining themselves.
Scene four
Ensemble heat
The group carries the temperature of the piece: flirtation, joy, release, witnessing, and the dangerous beauty of women refusing to disappear.
Special photographic credit
Saiba Sehmi
Project Photographer
Saiba Sehmi’s photographic eye holds the production with unusual calm and intimacy. Her images do not simply record stage action; they preserve atmosphere, relation, and the quiet voltage between women before gesture becomes event.
This page carries her presence with intention. The production’s sensual visual memory owes much to the softness, precision, and compositional intelligence of her lens.
Credits
Cast & creative team
The stage ensemble and the women who helped shape the work around it.
Core production
- Executive Producer · Artistic Director
- Michael Omoke
- Director
- Cheryl J. Williams
- Assistant Producer
- Anna Marie B. Skanborg
- Director of Logistics
- Julisa Rowe
- Assistant Logistics
- Sakina Mildred
- Choreographer
- Ondiegi Mathew
- Lighting Designer
- Charles Stephen
- Costume Director
- Vicki L. Jones
Visual & communications
- Project Photographer
- Saiba Sehmi
- Social Media
- Ramya Sehmi
- Graphic Designer
- Aïcha E. Haidara
- Public Relations
- Angela Mutegi
- Web Developer
- Elisha Ngoma
Women around the work
Extended creative circle
Three women whose work helped frame how the production was seen, carried, and encountered in the world beyond the stage image itself.
Ramya Sehmi
Social Media
Aïcha E. Haidara
Graphic Designer
Angela Mutegi
Public Relations