The Nakuru Players Theatre Club

Nakuru Playres Theatre Club

From a retrospective perspective, the history of the Nakuru Players Theatre can be divided into two parts. The first part consists of the colonial history of the theatre while the second part consists of its post-independence development.

The pre-independence era saw the birth of the Nakuru Players Theatre Club in the 1940s and the construction of the theatre building on Garland Avenue (what later came Kipchoge Avenue). In general, it was marked by a great deal of energy on the part of the members of the Club, the production of numerous plays for members and the public, and the steady growth of the Club and of the arts in the Nakuru region. On the other hand, the post-independence history of the Theatre was mixed.

The transition of indigenous management of the Theatre was accompanied by the gradual disintegration of interest in the Theatre in Nakuru and the concomitant lack of activities at the Theatre’s building and grounds. Later on, however, with the mushrooming of the Theatre and other artistic groups around Nakuru and the dedication to the Theatre and the arts by a number of people in the town and the region, interest in theatre was gradually rejuvenated and the Theatre’s building began to perform its required responsibility as an ideal venue for Theatre lovers.

This resurgence of interest in theatre and the arts reached its peak on March 11, 2006, with the election of the current Management Committee, consisting mostly of Egerton University staff members, who (re)constructed the foundation from which the Theatre has been taking gigantic steps forward as a locus for individual and organizations dedicated to arts.

The history of the Nakuru Players Theatre Club in the years leading up to the opening of the Theatre reveals a great deal of dedication on the part of the members and the Nakuru Community of the time. The Theatre building situated on Nakuru town’s present-day Kipchoge Avenue (formerly The Nakuru Players Theatre Club was formerly established on 11th August, 1949, at a meeting held in the Nakuru Town Hall attended by 45 members.

The name “Nakuru Players” was adopted from one of a number of drama groups that were already operating in the area, implying that the community had been pursuing its interest in theatre for some time.

The first Chairman of the Theatre was Mr. Ken Louis, the then town Clerk of Nakuru. Among those who attended the meeting was the following: Sir Michael Blundell and his wife lady Blundell; Mr. and Mrs. Alec Taylor; Mr. and Mrs. Harold Schofield; Mr. Ted Lewis, the then General Manager of the Kenya Farmers Association and his wife; Mr. Bill Balry, the then Manager of Nakuru’s branch of the Standard Bank Ltd; and Mr. Norman Handy, who had at one time been Mayor of Nakuru.

Following the information of the Club, its first President was Mr. Morgan, then Provincial Commissioner of Rift Valley. Sir Michael Blundell succeeded him in 1951.

The 1949 Constitution of the Club outlines the objectives of the organization as “the study of dramatic art, the promotion and the encouragement and organization of events of a cultural or educational nature, the organization of social events and the like for the benefit and enjoyment of members and to do all other things as are incidental or conductive to the attainment of the objects of the Society”.

The Constitution divides the Club’s membership into four categories: full members; junior members (under 18 years of age); honorary members; and temporary members (i.e. those who hold membership for the duration of performances for which they have purchased tickets).

The Constitution further provides for the following: the rules and regulations governing membership; the composition of the Management and the rules and regulations governing its activities; the rules and regulations governing the members’ meetings, including General Meetings and Extraordinary Meetings; and the responsibilities of Trustees and the rules and regulations governing their appointment.

In establishing the Club, the community was carrying forward a tradition that was as old as European society itself. The history of theatre is traditionally traced back to classical Greece, between the 5th and 3rd century BC, when the great Greek tragedians and comedians, Aeschylus, Euripedes, Sophocoles, and Aristophanes laid the basic foundations for drama.

But the Nakuru European community was also motivated by the desire to fill prevailing gaps in entertainment and art in the region. In the 1940s, Nakuru town was just one street of shops. The only recreation facilities were the Rift Valley Sports Club, Sir Michael Blundell’s Princeton’s Electrical Cinema (later Eros Cinema) and the “Top Pub” (now Midland Hotel)

Furthermore, the electronic media the region was inadequate. The Kenya Armed Forces broadcasted programmes on its radio, but this did not fulfill the artistic requirements of the members of the Club. Equally problematic, there was no television in the area. And most importantly, the group required a mechanism through which to evolve its own identity as a professional theatre organization.

In order to achieve these objectives, the Nakuru Players needed their own facilities, most importantly a theatre, for rehearsals, productions, Green Room Rags, etc. they began to work on those plans in 1952, and in 1954, they purchased the Masonic Lodge on Garland Avenue, together with its grounds. Using donations from the community, they rebuild the Lodge into a modern theatre.

Members of the Playmakers Theatre Youth Group in Action.

Members of the Plamakers Theatre Youth Group in Action

When it was completed, the Theatre contained an extended stage, full trappings, dressing rooms, storage facilities, etc. In addition, it had two members’ bars in the foyer. The contractors were John Patrickson and Coxon. The total cost of the work was 7,500 pounds, of which members donated 4,500 pounds. Much of the money was in the form of a loan guaranteed by wealthy members from the community. It was repaid from the fundraising and from money derived from subsequent activities at the Theatre.

The Players began using the Theatre for rehearsals in June1955, but it was not until July 1958 that the theatre was officially opened. Sir Blundell, then the Players’ President, conducted the formal opening. In attendance was a large number of members as well as a good number of invited guests, including the following; Sir Richard Woodley, the then Chairman of the Kenya Cultural Centre; Mr. A.J.R. Mater, the Provincial Commissioner; Mrs. Wainwright; Mr. and Mrs. J.L. Bernhardi, the Mayor and Mayoress of Kampala; Mr. and Mrs. C.E Davelin; and Mr. Hugh Ashmore, the President of East African Theatre Guild.

In his speech, Mr. Louis, the Chairman, made the following remarks: “Tonight is an exciting occasion for the Nakuru Players. For nearly 10 years, kind host have offered us hospitality for our shows. Then we took our courage in our hands and brought our own Theatre. Here, tonight, you see the result- enlarged-enlarged, adopted, decorated and technically equipped, partly through gifts from friends, partly from the profits our efforts, and not least by the labour of our own players in their spare time.”

The final payment on the loan was made in September 1961. Between 1941 and 1963, the Players produced at least fifty plays drawn from various genres, many of which were original productions written by the members (see separate list).

The theatre was opened to the public on Friday 25 July, 1958, following four years of strenuous efforts on the part of the members of Nakuru Players Club to establish a reputable cultural centre in Nakuru for the purpose of advancing their artistic and entertainment needs.


Despite the acquisition of independence, the Nakuru Players Theatre took some time to revert to indigenous management. It was not until the mid-1990s that indigenous Africans began to acquire membership in the Theatre on a large scale.

The first local group that became affiliated to the Theatre was the Drum Singers, who remain connected to the Theatre to date.

The Late Mr. Arthur F. Brown, a former Chairman of the Management Committee of the Theatre and a prominent businessman in the Nakuru area, played the most significant role in negotiating the transition to local membership.

Other Theatre groups such as Playmakers, Arts Ablaze, Tears Group Kenya, among others, closely followed the Drum singers. Subsequently, the Management of the Theatre became increasingly localized. Between 2002 and 2004, Mr. Barnabas Kasigwa, was the Chairman of the Management Committee. From then until 2006, the chairman was Mr. Tom Oduol, an official in the Ministry of Culture and Social Services. Dr. Joseph Walunywa, a lecturer in the Department of Literature, Languages and Linguistics at Egerton University, succeeded Mr. Oduol and Mr. Collins Dennis Oduor, a writer, producer and director, succeeded Dr. Walunyuwa.

In the course of this time, the Theatre has experienced moments of growth and also various drawbacks. The drawbacks have largely been caused by lack of finances.

In order for the Theatre to achieve its full potential, i.e. to be fully involved in artistic production, and ready to reach out to the community, it requires substantial financial support, which it cannot achieve from subscription alone.


The vision of the Nakuru Players Theatre is to be an ideal people’s Community Theatre. The mission is to take art to the people through regular production of plays both in the Theatre building and in the community, and to function as an educational centre for artists in the region.


The Nakuru Players Theatre belongs to the Nakuru Players Theatre Club, a members’ organization whose objective is to originate, store, and exchange ideas about theatre and other forms of art in the region. An Executive Committee elected through an Annual General Meeting (AGM) runs the Theatre on behalf of the members of the Club on the basis of rules and regulations outlined in the Club’s constitution.

In exchange for entry fees, the Theatre stages plays for members and the public at large as well as hosts wide-ranging events, such as workshops, cultural events, art exhibitions, and family get-togethers, either on its own or in collaboration with other institutions.

To keep its members constantly informed about ongoing events and future plans, the Theatre publishes a newsletter, The Plotline, which is distributed to members on a monthly basis.

The Theatre has plans to establish a library to be stocked with books and other reading materials of interest both to members and the general public. The Theatre would like to invite members of the public from Nakuru town and the region to sign up as members.

Privileges for Members

The Theatre has an attractive package of privileges for members as outlined below:

Individual Members

1. Individual members will be entitled to a discount of 20% from entry fees to events produced by the theatre;
2. They will receive a free subscription to the theatre’s newsletter, The Plotline;
3. By virtue of their membership in the Club, they will have the opportunity, in exchange for a reasonable fee, to use the facilities of the theatre for events such as birthday parties, weddings, family get-togethers, etc.;
4. They will have the opportunity to sign up as members of the Theatre’s dramatic troupe;
5. They will enjoy the opportunity of interacting with other people from the region who are equally interested in theatre and art.

Corporate Members

The Theatre uses the term ‘Corporate Member’ to refer to institutions like schools, colleges, universities, churches and businesses that buy membership in the Theatre as a group. Such corporate members will enjoy the following privileges:

1. They will have the right to send a maximum of twelve representatives to events produced by the theatre at 20% discount from the entry fees;
2. They will have the opportunity to advertise their products in the Theatre’s newsletter at reasonable fees;
3. They will have the opportunity to use the Theatre’s facilities for events like conferences, workshops, exhibitions, etc. at a reasonable fee;
4. They will receive the Theatre’s newsletter, The Plotline, on a monthly basis.

Affiliated Group Members

Members of Repacted

The theatre uses the term ‘Affiliated Group Member’ to refer to groups of not less than five paid up members who are engaged in theatrical activities at the theatre as a group. Such groups will enjoy the following privileges:

1. They will have the opportunity to use the theatre for rehearsals at a reasonable fee;
2. They will have the opportunity to use the Theatre’s facilities for events like conferences, workshops, exhibitions, etc. at a reasonable fee;
3. They will receive free subscription to the Theatre’s newsletter The Plotline;
4. They will have the opportunity to advertise their products in the Theatre’s newsletter at a reasonable fee;
5. They will have the opportunity to meet and interact with other people interested in theatre and other forms of art through the theatre.


Endemic corruption, increasing social inequality, and lackadaisical governance are the principal causes of pitiable implementation of both international and national environmental policies. Wealthy nations fool around with the climate change deal. There is either no or little improvement on the new targets for the developed nations that are party to the Kyoto Protocol to cut their emissions. The just ended UN climate change negotiation meeting in Bangkok fundamentally failed to deliver any substantive development on targets, posing serious questions about the political dedication of the industrialized nations on climate change. Since the United States is the major carbon emission producer in the world, President Barrack Obama could have done the world a great honor by rejecting the untimely Nobel peace prize by singing the Kyoto Protocol.


Poor nations are the most affected by effects of climate change, something that as prompted African nation to gang up for the Copenhagen meeting. More than fifty Members of Parliament from African countries are meeting for three days at the UNEP Headquarters’ in Gigiri Nairobi with an aim of coming up with a common stand in readiness for Copenhagen after shameful failure in Bangkok. Anyway the Copenhagen meeting could just be one of the many talks shows aimed at audacious nuclear power show of while millions of lives are destroyed daily as a result of environmental pollution form the carbon emission.

Climate Change

Poor environmental management strategies have been cited as the main causes of deforestation. Most developing nations are not governance compliant, good governance is development centered values quality life of its citizens, and respects integrity for prosperity. The legislature, the executive, and the judiciary serving under the banner of ethnicity have done this country (Kenya) a grand environmental defilement. Nearly two years after efforts were renewed to save the water towers of Mau Forest complex, politics has taken the centre stage and little action seems to be taking place. The gluttonous human settlement in the Mau Forest fueled by the politicians from the Kalenjin Community in Rift Valley in the name of saving our people is causing the rivers leaving Mau forests which replenish many lakes including those essential to the tourism industries to dry up.

Ewaso Ngiro River in Narok

The gratuitous phenomenon of destruction of the water towers in Kenya is already unleashing ramifications that are beyond redemption. The world greatest spectacle and tourist attraction, the migration of the wildebeest across the Mara River in the Masaai Mara Game Reserve in Kenya is slowly loosing its spectacular magnetism; it is a slap of the unforgiving Mother Nature. Scenes like these will die out if water towers that feed such rivers are not conserved. Some major Rift Valley lakes (Nakuru and Elimentataita) which are also homes to flamingos are at the brink of extinction; among other consequences of climate change in Kenya has been the declining rainfall which in turn has lead to lower resources for hydropower and scarcity of water for agriculture and domestic consumption. As result of persistent drought livestock farmer’s from the pastoralist communities are burying carcasses of dead livestock.

Webuye Fall in Western Kenya

The third world nations should take advantage of the situation by putting there best brains at work. Currently in eastern Africa the drought is causing havoc, no water for the livestock, the water level in the main hydropower dams is down, domestic water supply dams are drying up, soon the El-Niño rains will start and many will be caught unaware. Lives will be lost property worth billions destroyed. Along side the national disaster policy the poor nations should develop national water harvesting strategic policy. The policy should effectively address approaches of reducing effects of drought by storing water during rainy season for use during dry spells. The water banks can play critical role during dry season by offering livelihood to the poor and the marginalized livestock farmers who occupy vast communal grazing fields.

The water banks will successful replace traditional agricultural ideology of depending on the rainfall as the only source of water yet global rainfall patterns are changing. Alternative farming systems and technologies like organic farming should be encouraged among communities. Recently in Kenya the government was buying emaciated livestock from the pastoralist community at a fare price, what a bright idea, but the government should think of more sustainable ideas like livestock insurance policy for the arid and semi arid parts of the republic. The government could also set up state-run slaughter houses at the regional level instead of a meat processing factory in its capital city Nairobi; this will create employment at the community level.

Global warming and man’s social economic activities have led to the degradation of earth’s single most and very significant natural resource, the forests. With increased violation of principles of conserving these regions globally, poverty and unemployment, reduced water levels in reservoirs and non sustainable agricultural practices have rendered many within third world countries to suffer food shortages. With well planed strategies the third world countries will effectively address the issue of food security. With modern technology the sun may not be a problem as such, the question is how do we tame and convert solar energy to domestic and industrial use. Wind energy is also one of the most assumed sources of energy in Africa yet it is a common phenomenon in semi and arid areas of sub-Saharan African.

Mau Complex

It is time for African states to utilize their technological think tanks to eradicate corruption, dictatorship tyranny and buffoon style selfish and self styled ideologies and principles of leadership. It is also important for developed economies to stop maximizing on the abject poverty in the third world by embracing realistic holistic, inclusive and comprehensive development agendas that are aimed at reducing human suffering. By reducing emission and by supporting developing nations environmental conservation initiatives and by listening to the human suffering and taking preventive action the world will reduce environmental disasters hence reduction of rescue missions.

If we are enjoying the fruits of our theatre advocates (May their souls rest in peace) done 10-20 years ago why do we have to remain the same today lets move up.
As I sit down in this great hall (Shrine of tears) in Nakuru, A gentle man known to me well hands me some documents of the proceedings. As I scan through “artist” shouts at each other in the pretext of haki yetu. A gentle man stands up and shouts mugala muuwe haki umpe. I lift my head slowly and ask myself why? Kanini umuuwe mgala?

This scene reminds me in 1996 when the great late Opiyo Mumma and Lenny Ogolla moved the theatre world by their great English tongue twisters only years later we realize they were saying artist need to work together for the better of our societies.
This gentleman who handed me the papers emerges as the new chairman of the “artist” club of Nakuru. So I had the first privilege of being served by the chair.
My mentor, friend and very good friend Taban Lo Loiyong. Defined an artist as a person who always remembers but he didn’t say what and I agree, and it’s this definition that we want to use n re-awakening this great club.
To my own analysis, so be it out of 84 people sited in this great shrine of tears only 23 are artist out of them only 4 men with the womb (women) why do I say this
 Most of the youth in the hall they don’t understand what art entails. And they have always confused arts and theatre to be:-
-Magnet theatre session
-Annually NOPE festival
-Donor driven groups
-How long have I been hanging around this building called theatre?
 ¾ of people in this shrine of tears came to out shine each other in voice, voting and being known by whom?
Thinking through what a club not “club” entails I have to admit this executive has along way to go. My words of wisdom to this executive is
“The man (of course even women) who loves mother earth who nourishes mother earth, who tends mother earth and all her products, gets rewarded.”

Odu knows this because he has walked this journey for sometime, all the way from a small village in western part of this country to the city in the great rift he must know this very well.
“Our task, the task of the living is to work today in order to eat tomorrow”
 We need to start critically changing this club’s constitution to allow you, me and them to develop. One year in office entails hoop skip and jump kind of leadership of which the result end is always we are trying ……………………….
 The membership criteria should be careful looked into. Why is one calling him or herself an artist?
– what’s art to this person
– He/she is in it because of donors, friends, or deep down he has the passion and anger to develop our culture and maintain it without being compromised.
In away the best story is the story you would like to hear again and again

The people we incorporate on board what are they bringing on board, don’t tell me ideas we have more than enough as long as I remember. We need people now to invest in this club, we need aboard that had a weight to learn on financially, because we have skills and information what we lack is just the reason and we are complete

Odu and the board will challenge me that he’s going to do resource mobilization, until then when he will answer this question what are we giving in return to the people we are targeting to give us resources in return is when I will buy his great idea of resource mobilization.
A couple of weeks ago I was in Northern Sudan to see my old girlfriend Ms. Lily Akol akol and I share this with you, I remember what she asked me in 1997 at 5.00pm as we were taking beer at the sunset bar in the whispers corner . How can you John expect membership of this National Theatre and all you do is have great jobs in the NGO in the context of an artist? This I ask you Odu again?
Why Lily Akol reflection appeal, so much to me is that she is truly touching on repressed/trapped us in NGOs setting in which we seemingly have no escape. Odu can this affect your dream of this great theatre club.
Let’s not live disconnected lives in theatre we need to:-

 Take up all the theatrical activities i.e. be the best planner of the NOPE funded festival and offer true T.A., redesign the festival guideline for theatre practitioners out of school then resources will follow us.
 Mobilize theatre loves not “artist” in the whole of rift valley that’s what you guys call development by involving all.
 Appreciate that the hand fails to throw straight as the eyes see

Guys have you ever asked your self why the government refuses to give youth permits for demonstrations but gives an okay for processions of which to me they are demonstrations in organized manner.
It’s because we have failed to give back responsibility during the demo’s ama ni uwongo

Think today think

Otoyo Otoyo was one of the most respected personalities in the village, tall man well built with a weathering away body as a result of consuming hot chang’aa, he was a master piece and with good education he was the only person who could translate local language to English or Swahili and that is only when under influence of two glasses of chanag’aa. One thing about Otoyo Otoyo is that he was much persevered especially after drinking “thing” – the local brew.

Almost every young person in the village wanted to be like Otoyo Otoyo, the only part they did not like was the drinking in him, drinking too much “chang’aa” the local brew. After drinking, Otoyo Otoyo never forgot to buy some roasted meat and accompaniments to reduce the level of intoxication. Passing through the market narrow road was a must because it was the only way to his home.

Passing through the market meant a lot of things to him, women raining jokes to him, children flashing mockery to him and men laughing endlessly at him, what a parade of honor.

One day, as usual from his drinking expedition he passed by the hotel and as a routine he bought some meat and ugali. It was a little late in the evening and the village road very busy, the jokers and the mockers never realized that Otoyo Otoyo was passing. After some few meters Otoyo Otoyo went by the road side to respond gently to the call of nature, he placed the meat and ugali down just next to himself, just to make sure that the food was safe. While helping himself a bitch patrolling the garbage decided to think outside the box to find out what was in the paper bag. And the bitch realized that it was food and so it started helping itself to it.

On the realization that some creature was helping itself out with his food Otoyo Otoyo never bothered to zip up or pull the trouser up but went straight to save the delicious meal. So he attacked the bitch from behind holding its tail, the bitch still held tight the meat. And so he went straight for the rear legs of the bitch and lifted the bitch just like a scene from the blue movies, remember the trouser is down and the bitch is holding tight on the meat not letting the meal go. One of the market women realized the struggle and started shouting, Otoyo Otoyo is……….Otoyo Otoyo bought the meat for the dog to satisfy his thirst, since it was abomination Otoyo Otoyo was stoned to death by the villagers. And the man died….just like that……

A man had just bought a casket for his dead father; the man hired a pick up to transport the casket to the mortuary to collect the body of his dead father for burial.

On the way, a man by the road side stopped the vehicle for a lift, the driver accepted to help the man, but since the front seat was already occupied, the man had to join the casket behind the pick up. Since the man was in hurry he didn’t mind the casket, and so he joined the casket.

After some time it started raining heavily, the man decided that the best way to avoid being rained on is to take shelter in the casket and so he did take shelter in the casket and locked himself in the casket. It was worm and cool in the casket and so the man fallen a sleep, deep sleep.

Along the way another man stopped the vehicle for a lift and the generous driver accepted to carry the man, and because the front seat was occupied the driver asked the man if he does not mind the casket he could seat at the rear where the it was, and so the man accepted, very fast to avoid waste of time and to avoid the rain, the man joined the casket behind the pick up.

After some distance a lorry approached from behind trying to overtake the pick up but it did not manage to overtake the pick up. Therefore the lorry was moving just behind the pick-up some few meters away from the pick-up tail.

The rains continued pounding heavily. The man in the casket was in deep sleep and because of the warmth in the casket the man started dreaming, kicking and yelling aloud, when the gentleman in the casket came out the casket, it was like scene from hell. It was like the return of the leaving dead. The pick up moving in a very high speed and to avoid the man from the casket the other man (second passenger) jumped out of the pick up only to be crashed by the lorry.

He was crashed beyond recognition brains scattered on the road, body parts demarcated into junks of meat. He was dead…..

Like a think heavy pregnant cloud the smoke engulfed the shells, in the shells is a life, a life of a people, like firewood socked in petroleum gas fuel a life is reduced to ashes, like black sculptures bodies are scattered everywhere, oh it is a real public gallery with human bodies scattered allover the scene. The scene is like “scene from hell” at fast I thought I was watching a holy-hood horror movie “the return of the living dead” like the holy-hood stunt masters fighting a loosing battle in a hell of fire to make money, the people battling the hell of fire to save a life, their lives. For the first time in my life a saw a “walking fire-wood”

Like a ghost fire following the trails of its prey socked in its scent the horrific fire destroyed every living soul, innocent children playing football, women and men both young and old went on flames. Shoppers running for their precious commodity “life “are branded thieves, looters and shoplifters, locked in the oven of the shell, they run to the press and say there is no body in the burning shell every body was evacuated, let us save bread and the melting ice cream, yet when the fire dies, they collect bodies from the shells.

Ok the dead can not learn a lesson, the living will never learn a lesson, we still rash to the horrific scenes to certisfy our thirst. While a people sleep on empty stomachs, they drain the maize granaries in their pockets, and they fuel their pockets. They eat like termites straggling to bring a hart down, then vomits without shame and greedily returns to the vomit, yet we expect the a people to be saints.

Most of the eastern African endangered species are facing extinction from the face of the earth because of their valuable body parts. The former president of the republic of Kenya Daniel Moi set ablaze Elephants and Rhino task worth millions of shillings recovered from the poachers. Just like the blood diamonds, the wild animal’s body parts are being sold through the black market to reach people yet the communities taking care of the game remain poor.

Albinos are special and unique human beings with unique skin pigmentation, but what is so special about the albinos? According to the traditional African black magic albinos are more than what we think they are. Currently albinos in eastern Africa are a moving target for human poachers. In Tanzania before the president issued a warning on the albino poachers, a man was arrested by the police trying to sale her albino wife. Albinos have been reported missing without trace in Kenya and Tanzania. There is a big and ready market for albinos in eastern Africa especially Congo, Kenya, Tanzania, Rwanda and Burundi, “to be or not to be is not the question” why albinos? That is the question.

It is believed that certain body parts of the albinos can bring richness, if you want to become reach in eastern Africa you look for a witch doctor with that particular body part of the albinos. If you want to become great fisher man you look for a witch doctor with albino hair tie the hair on the fishing net you will get all the fish in from the waters, and some body parts can be used to make love potion. Why do you need fellow human being body parts to make love? The world is crazy.

Fellow eastern Africans let as stop this madness, myths and believes are not a solution to our problems but a problem to our solutions. To me the killing of my albino brothers and sisters is the greatest human slaughter of the 21fast centaury. Albinos are human beings just like any person, they deserve protection and it is there right to enjoy all the human rights. Eastern Africa take care of your sons and daughters, your brothers and sisters, your mothers and fathers they are humans not animals.