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Softie is director and producer Sam Soko’s first feature documentary filmed over the course of five years. After meeting the character Boniface Mwangi, nicknamed ‘Softie” by his close friends and family in 2013, Soko, who had directed several short music videos and films by that time, decided to try his hand at directing a documentary. What started out as a short video, that he had planned to take a year filming, evolved into a story about politics, family and what it means to be Kenyan. Four years into Soko filming chaos filled street protests against corruption, police brutality, extra judicial killings, Softie decided to run for a political seat in his old neighbourhood Starehe. Soko knew he had a possible ending for a film, and pushed to do one more year of filming as his political campaign would give a much needed insight into the political and voting process in Kenya. But the material he filmed went far beyond that and gave insight into a young family, in a young democracy that was struggling to balance their love for their country with the needs of their family, a universal story that Soko felt that audiences across the world could be able to connect to a visceral level.

Bonifice Mwangi ‘Softie’

Boniface Mwangi born on July 10, 1983 is a Kenyan photojournalist, politician and activist involved in social-political activism. He is known for his images of the post-election violence that hit Kenya in 2007–2008 and his work as one of Kenya’s most prominent activists. Boniface grew up in an impoverished single parent home in Starehe county, with his six siblings. Mwangi dropped in and out of school during this period and helped his mother sell books on Nairobi’s streets. When his mother died in 2000,
Mwangi, then 17, decided he had to change if he was to survive. He joined a Bible School with the intention of becoming a pastor, and secured a diploma in Bible Studies. Whilst at school he became interested in photography.

Despite not having a high school education, Mwangi managed to gain a place at a private journalism school. To fund his studies he had to continue selling books on the street, but soon began to gain experience as a photojournalist. He published photographs in a national newspaper and in 2005 won his first photography prizes. He was awarded the 2008 and 2010 CNN Africa Photojournalist of the Year Award for the photos that he took, documenting the widespread post election violence of 2007-2008. He suffered from PTSD because of all the violence that he witnessed and quit his job as a photographer to work on social justice in Kenya, mainly using street graffiti, art and street protests to call attention to human rights violations and political corruption in the country. He has been recognized as a global TED fellow for his activism work. One of his longest lasting initiatives to date is Pawa 254, a hub and space for artists and activists to work together towards social change in Kenya.

Njeri Mwangi – Boniface’s Wife

Njeri Mwangi finished college in 2005 and knew she had to work in social impact but didn’t know where. Her upbringing guides her belief in God and family first. A chance encounter at an ice cream shop with Boniface in 2006 changed her life forever. Over the years as her husband gained more prominence in public, she has remained in the shadows, raising their 3 children Nate, Naila and Jabu and Co-Founding PAWA 254 one of Nairobi’s first creative social enterprises. In 2016 her husband announced that he was running for political office. This decision made her do something she had worked hard to never do –
step out of the shadows and share her private life with the world.

Filmaker’s Statement

My name is Sam Soko and I love my country Kenya, however I am afraid of its corrupt and tribal establishment. A few years ago, I had the idea to develop an activism manual for Africa. It was meant to be a collection of short videos documenting the work of activists around the continent. I was inspired by the Arab spring, and wondered if a similar wave of protests against despotic African leaders was in the offing. That is how I met Boniface Mwangi, Kenya’s most infamous activist. Four years later what was to be a manual has turned into an intimate visual portrait and story documenting the thrills, fears and sacrifices of being an activist. One important question I had four years ago and still do, is what are the implications of living such a life – to the wider community and to one’s own family? In this case what comes first, family or country?

The story is set against a backdrop of historical injustices, which have been used by post independent Kenyan governments to fester hate between people who generally share similar cultures. It is ironic that our current leaders use the same tactics that our former colonizers did – divide and rule through creation of “fear of the other”. This is done to sustain an even greater obstacle of progress. One which Kenya’s Chief Justice explained by saying, “Most countries have a mafia; in Kenya the mafia have a country.”

This is in reference to how corruption and bad governance had entrenched itself in my country’s day to day life. Kenyan leaders have found a way to divide people using tribal affiliation and voter bribery. Our country has grappled with ‘Fake News’ for over 50 years. Kenyan politicians have spent decades perfecting the dark art of spreading deep falsehoods amongst people, to make sure they despise one another. The outcome is that every 5-year election cycle is characterized by violence. The worst instance of post- election violence was in 2007 when over 1400 people were killed and hundreds of thousands of Kenyans were displaced within the country. Incidentally, it is this violence that brought the main subject of this

story, Boniface Mwangi, into the national and international spotlight. As a young photographer he documented this violence, winning several global and local awards for his bravery, covering the stories of survivors. Boniface life was forever changed from then on, turning to activism as a means to push for positive transformation of Kenyan leadership. This is how I met him.

I came to realize that the life of an activist conceals many things. As they are up against a society, whose mindsets are difficult to change, they also have to deal with their own families. Boniface’s wife, Njeri, has emerged as a critical element of this narrative. As a witness to what lies beyond the activist and politician that is Boniface, she has provided a rare and remarkable view into the sacrifices that families of activists have to make in their quest for social change.

Boniface and Njeri are Kikuyu. The Kikuyu are the largest, out of the country’s 42 tribes. This is the one thing they have in common with the ruling class, led by our current president, Uhuru Kenyatta, who is the son of Kenya’s first president, Jomo Kenyatta. Boniface’s beliefs mean he is viewed as a traitor by his tribesmen and some of his family. From dynamic protests, death threats, family fights and life changing decisions, this film tells the story of their unparalleled journey. In a world where sowing seeds of division continues to be encouraged, I believe telling this story will inspire audiences across the world to fight for justice and a more equal and inclusive society, in their own way.

I have been filming over four years, capturing Boniface and Njeri’s story in an intimate, observational style. At points the characters are aware of the camera and interact with it. This approach creates a very personal and close understanding of both of them. I have also interviewed them separately which allows for their different perspectives to be reflected in the film directly. Most of the principal filming is done and we are looking for the right creative partners and financing to make sure the story fulfils its amazing potential.

Making The Film

After meeting the character “Softie” in 2013 at a protest rally, Sam Soko was initially inspired to develop an activist’s manual. The initial goal was to produce a simple quick, short 20 minute film in less than six months and distribute the short video manuals on youtube, and go back to directing music videos and fiction films through his company Lbx Africa, which he co-founded with his long time friend Bramwel Iro . But, like all great stories, it wasn’t that simple at all. Soko grew to know Softie well, and saw that underneath Softie’s tough man exterior, was a complex, vulnerable and deeply passionate person who got into activism for very personal reasons. Softie got his nickname as a child for being seemingly harmless and weak. As a child, Softie was bullied for being dirt poor and the child of a single mother. This difficult upbringing spurred him on as an adult, as he was literally consumed with ensuring that no one else experienced his childhood poverty. And Softie went even further, embracing the cruel childhood nickname as an adult, which is now used as his nickname by close friends and family. He was not going to let the bullies win. That’s the kind of guy Softie is.

After four years of filming, becoming friends off camera and getting to know his wife and family well, Soko knew he had more than a straightforward activism manual in his hands. And that he needed a bigger team to help turn this into a film. The team soon found Soko one by one. Doc Society joined the team in 2017 with Sandra Whipham and Jess Search serving as Executive producer, and this was through a fortuitous meeting at a filmmaker gathering in Nairobi. Toni Kamau, joined the team as producer in early 2018 and Mila Aung Thwin, who had mentored Soko as a Hotdocs grantee in 2018 joined as Editor and Executive Producer along with Bob Moore. The team achieved early success by winning audience award for best pitch at Hotdocs Forum in 2018, and a co-production with POV for US public broadcast. And since then it’s been two years of late night skypes, midnight edits and festival get togethers as the team, spread out across the UK, New York, Canada and Nairobi joined forces to turn 800 hours of footage into a 96 minute feature documentary. The story of how Softie got to be made into a film is a testament to the power of belief, the importance of human connection and above all else the power of collaboration. Softie is produced by Lbx Africa in collaboration with We are not the machine Ltd and Eyesteelfilm.

Stepping into a taishū engeki show is like being welcomed into a wild and flamboyant secret society. As performers in outlandish costumes dance on stage, delighted fans dance along in unison from their seats. Somehow, everyone knows the moves. Periodically, an excited fan will scurry up to the stage with an envelope or wrapped gift, or will jump into the aisles looking for more room to wave a glow-stick. This might sound like a crowd of teenagers at a pop concert, but many women in attendance are old enough to have teenage children of their own.

At tonight’s show in Osaka, the zachou, or troupe leader, is Shinya-san. “Nothing makes me happier than having people from all walks of life watch the shows,” he explains. “If there’s one thing to expect from taishū engeki, it’s to have fun and enjoy yourself.”

Shinya-san has been coming to these shows since he was five. When he was 15, he left school to join a taishū engeki gekidan, or troupe. Now 36, he is relatively young for a zachou. His shows are influenced by everything from kabuki to Disney to hip hop. “I like to take elements from other Western dance disciplines,” he says. “We can literally put on a performance in any shape or form that we please.”

Taishū engeki is usually split into two distinct halves: a play that fuses Edo-period drama in the style of a soap opera, followed by bouts of dancing and music. The dancing is a relatively new development, Shinya-san says. Unlike higher-brow forms of Japanese theatre such as kabuki or Noh, taishū engeki doesn’t take itself too seriously, and is changing with the times. The emphasis is on having fun and making friends. Each gekidan inspires a deeply loyal and committed fanbase, many of whom make huge sacrifices to follow their idols.


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Taka-san and his partner Rieko-san have been following Shinya-san for almost 3 years, and organize a large part of their life around Shinya-san’s shows. In the beginning, Taka-san says, he had no interest in taishū engeki, and Rieko-san would come and watch alone or with friends. “Eventually she convinced me to come to a show, and the energy blew me away,” Taka-san says. “I’ve been hooked ever since.” When Shinya-san’s troupe is in town, Taka-san will adjust his working hours around the performance schedule. “We will come to at least one show, but often two shows a day. We are loyal to Shinya-san only! We never attend another zachou’s show.”

Taishū engeki performers are encouraged to develop a unique and recognizable alter ego, so they take responsibility for their own makeup, costume, and choreography. This isn’t only a matter of tradition: It’s also about building long-term relationships with fans and keeping them coming back. As such, there’s a remarkable level of interaction, from direct addresses of audience members from the stage, to boisterous hand-shaking sessions after the show. There’s no “fourth wall” of the sort you’d encounter in Western theatre.

The fans also love to shower their favourite performers with gifts, even in the middle of the show—not least because it gives them a few precious moments up-close with their idols. Taka-san and Rieko-san once gifted an ornamental Japanese sword. “It was wonderful,” Rieko-san recalls. “They used it in the show the very next day. We’ve seen it used a few times again since.” Others write letters or clip colourful charms to the performers’ kimonos. Sometimes they’ll give money; gifting several 万円 at a time is common. Audience members will even band together to buy the performers a bag of assorted soft drinks, which are drunk on stage during a break. Friendships often form, and there is a feeling of close-knit community, though jealousies can also develop when the zachou appears to be giving one fan more attention than another.

A troupe will work collaboratively to plan its shows, but the zachou is generally the main draw, and the figure who appears on posters. It might be hard to tell behind the eccentric makeup and flowing wigs, but most of the performers here are men, and cross-dressing is often a part of their act. “I love the dressing up,” says Taka-san. “I like that the performers are free.” (Some women perform, but rarely dress as men.)


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As lighthearted as the shows can be, the work itself can be gruelling. Troupes are always on the road, perform twice daily, and are allowed only one day of rest each month. They usually sleep on the theatre grounds, and at the end of the month, they rotate to a new theatre. After the first show of the day, performers take a quick lunch on stage together, and then they move straight into preparations for the evening show. Every day is different, with a new script, dances, and costumes on display to woo a returning crowd.

When asked where they find the time to actually plan for shows, the performers don’t seem to know. “We synchronise and introduce new elements all the time,” says Shinya-san. “We spend so much time performing together, a lot of it happens spontaneously.” Being accepted into a troupe can be a dream come true for any young aspiring performer, but many quit within a few years. The backstage reality behind the glitz and glamour can quickly become too much.

On one occasion, Taka-san and Rieko-san arrived at a show to find Shinya-san leaving in an ambulance, having collapsed backstage. “It was awful to see,” says Rieko-san. “He works so hard and must have been exhausted. I can’t understand why he doesn’t take more time off.” But for Shinya-san it was business as usual, and the shows continued the very next day. Amongst the troupe exhaustion seems to be an accepted hazard of the job. “It’s hard. Lots of young performers drop out after a few months,” says another performer. “But we know what it takes to keep our art form alive.”

When Shinya-san was a child, his mother would bring him to taishū engeki shows. She passed away shortly before he became zachou, but he keeps a picture of her backstage. “She never saw me on stage, as the head of my own troupe,” he says with great sadness. But she’s ever-present in his mind, and remains a strong inspiration for his work.

As the month draws to an end and the show prepares to leave town, most of the fans prepare to resume their normal lives. A few are so dedicated that they will commute to the show’s new location. For some, taishū engeki is a lighthearted form of escapism—but for others, it is a way of life.


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