Want to read more? We Speak Kiingereza has been featured in the media and presented on at a conference!
Teaching English in Tanzania Through Games by Kevin Lavery, MSU College of Communication Arts and Sciences
Game developers, professors present benefits of gaming for language learning by Reiel Ghiglia, The State News
Cross-Cultural Design to Aid English Instruction in Tanzania and Kenya: A presentation on how co-design drove the game forward in Kenya, presented at the 2025 Play Make Learn Conference.
We Speak Kiingereza is a language learning board game created in Tanzania for Michigan State's Designing Technology Solutions for Schools in Africa program. It has since been expanded in Kenya and the United States and is currently available to over 7,500 students.
Per UNESCO, 40% of the world's population receives an education in languages other than their mother tongue. In Tanzania and Kenya, where you must understand English to complete secondary schooling, this number is virtually 100%.
The game is designed to be adapted for any language or grade level, or even a non-language subject. A version for English and Portuguese collaborative learning is in the works, and it will also soon be adapted for Hindi speakers in India and for science classes in Tanzania.
Players or teams take turns rolling the dice and moving along a path. They encounter ten checkpoints where they must stop and complete a language learning exercise. There are both easy and hard exercises, with a correct "hard" answer allowing access to a shortcut. There are also "Mystery Cards" that provide power-ups. The first one to reach "The End" is the winner!
Want to learn more? Read the full game rules, or try it out yourself on Tabletopia!
"For once, the students are actively engaged in the lessons."
– A secondary school teacher in Kenya.
"Getting students to do their reading is a problem. This (game) will encourage them to do it."
– A secondary school teacher in Kenya.
"When can we play the game again?"
– Too many playtesting participants to count!
Although it's only the native language of 10% of Tanzania's population, Swahili is the language of instruction in primary school classrooms, resulting in 90% of the country's population speaking it (Tomedes, 2024). English also plays a role as the secondary school language of instruction.
My visit involved working with two secondary schools over the course of 17 days. I arrived with the idea to create an English learning game for Form 1 (freshman) students after learning of the high dropout rates that occurs around this age due to a language of instruction transition – approximately 1 in 17 Form 1 students dropped out of school in 2023 (Tanzanian President's Office, webpage since unpublished).
Photo courtesy of Dr. Jenny Olson.
The analog prototype with 100% local materials.
Before we proceed, I'll be honest: I got ahead of myself and made some mistakes.
Background research involved casual conversations upon arriving, then I took some initial ideas and ran with them. This was a mistake!
I decided to have exercises consist of translating full sentences from Swahili to prompt students to speak in English (a good intention based on the context, but not the right approach). Past and future tenses were a focus of the content.
The rules and structure were decided on, and an initial plan to make the game exclusively digital was shifted to an analog medium (this would be a good choice based on internet access issues).
In hindsight, I would come to realize that much more involvement and collaboration with teachers on the educational content would be necessary, an obvious oversight (due to feeling the pressure of time) I now see with more experience. More on this later.
The original cards featured only full sentences to translate.
Playtesting took place at two secondary schools and involved 31 participants. 25 chose to play the game while six chose to observe. Due to scheduling, most participants were older than the Form 1 target group.
Both sessions featured three teams with up to five players each. For the first session, I was very hands-on in guiding the players as well as determining correct and incorrect answers. This was another mistake! I learned from this experience to be more hands-off and put moderation in the hands of the teachers.
It wasn't too late however to gain some important insight:
Students find the game fun.
The game provides a way to improve learning engagement.
I discovered a year later that this engagement was lasting – not only were students still playing the game, but they were expanding it into competitive tournaments with other students.
This means that the game has great potential, but the approach with the educational content must change. More on this later as well.
Photo courtesy of Dr. Jenny Olson.
Key Takeaway: Involve context experts as early as possible to ensure you start out on the right track.
Having minored in Portuguese as an undergraduate and having returned from Tanzania with the excitement of this project in mind, I decided to create an adaptation of the game.
What if the game could help bring players learning each other's languages together for a collaborative learning experience?
I reconnected with a former professor, Dr. Saulo Gouveia, to share the idea and was eventually able to playtest it with students.
This was when the switch turned on regarding several things:
There can be more to a language game than just translating!
I can better implement co-design both for language learning and to solve interaction issues like keeping players on the correct path.
Having now realized that I was previously blind to the benefits of these fundamental processes, I was ready to take the game into gear.
Portuguese students playtest the game with a professor.
Key Takeaway: Keep testing, even if something seems to be working.
I was fortunate to receive the opportunity to travel to Kenya for two weeks to continue testing and developing this game, plus to evaluate a tablet learning platform called Mind Leap, thanks to generous funding from the Mozilla Foundation.
Based on feedback from testing the Portuguese game, I presented five new types of learning exercises to teachers in Kenya, including listening and fill-in-the-blank.
I had the opportunity to work with both a primary school teacher and a secondary school teacher.
Leading up to the visit and following playtesting, teachers suggested ten more types of exercises, bringing the total to 16. Suggestions included reading a full paragraph and open-ended questions about literature.
Cards now involve reading, literature discussions, and grammar concepts such as collective nouns.
An additional change leading into the visit was to decrease the distance between checkpoints so players spend more time practicing the language than just moving along the board.
A colleague, Kennedy Nyoro, suggested removing actual questions from cards and instead only printing the question type. Teachers could use external resources for questions, allowing an essentially infinite question pool with minimal printing.
The primary school teacher opted for this while the secondary school teacher still prefers questions directly on cards. This is important: tailor the game for each classroom so that it best meets their individual needs. It also allows for quicker and easier scaling and distribution, while retaining the option for a more hands-on, personalized approach.
A few things stood out to me from working with these two teachers, who had different approaches:
Translation is not part of the curriculum at all! This exercise was removed for secondary schools, while the primary school teacher felt they were still fun and chose to keep them.
It's important to build relationships with co-designers to let feedback flow comfortably. The secondary school teacher was comfortable giving feedback from the start, while the primary school teacher was initially open about some feedback but took more time to give feedback in other areas.
A group of young students playtesting the game.
This visit provided the opportunity to do in-depth playtesting in the African context. It was tested seven times by 41 students: 26 boys and 15 girls. The group was diverse, ranging in age from 4 to 19, with six tribes/mother tongues represented (Kikuyu and Kalenjin being the most common). Despite this, almost all students speak primarily Swahili in the home. At school, Swahili and English are the most spoken languages.
All groups were mixed in at least one way: age, gender, school, and mother tongue plus team and individual. Tests also took place both with and without a teacher, including in a home setting, to understand different ways it may fit into students' lives.
Tests followed a structure of introductions and consent, demographic and background interviews, reading of the rules in Swahili, playing the game, a focus group interview discussion, and an anonymous Likert scale survey.
Students were able to understand the rules and format quickly by playing the game, although there were issues with the written rules so they were therefore simplified.
Important context about class structure led to some changes:
Classes are 40 to 45 minutes depending on the school. While students generally wanted the game to last longer, time in the classroom is tight. A one minute time limit to answer questions was imposed. However, if a wrong or delayed answer is given, other teams should have the opportunity to answer and move forward if correct.
There are 50 to 60 students per class, and teachers prefer groups of ten students. This means five or six game copies are needed to accommodate each class. Additionally, to avoid overcrowding, the board size needed to be increased.
An interaction issue dating back to the original version in Tanzania has been players wandering off the set path. Each phase saw attempts to correct this, but the issue persisted. Specific questions were included in the playtesting protocol to collect design suggestions from participants to resolve this issue.
In the Tanzania version, I realized the arrows were too small.
For the Portuguese version, I enlarged the arrows and labeled paths.
The version tested in Kenya had barrier lines, but the issue still was present.
The current version has thicker and darker barriers and even bigger arrows.
The cutoff for the version of the game tested is age 7 – younger kids did not understand the game and were not engaged. New card types were created to focus on and appeal to younger players, but I have not yet had a chance to test this. I'd like to test both exclusively with kids age 6 and under, as well as with kids in this age range playing alongside older children.
Another focus of the research was on gender dynamics. I found that neither gender was more assertive than the other within teams, instead the team leader (whether a boy or a girl) tended to be whichever player was oldest or the best at English. The big difference was how boys reacted to losing the game when playing against other boys compared to girls playing against other girls. While the boys on the losing team got quite upset, the girls moved everyone's pawns to the end and declared "everybody's a winner." This dynamic is something that warrants further research – are there ways to "lessen the blow" of losing the game for boys?
Additionally, students are also interested in playing and learning at home. While copies can be sent to homes, how will response moderation be handled without a teacher present? This is something else for further research.
Key Takeaway: Probe deeper to understand contextual details (such as class sizes) you may not see in a test setting.
An important part of the game is its focus on the local context. It should be able to be reproduced locally, and should involve local people.
Copes were printed in Nairobi by John Kangu (pictured), and inexpensive (less than US$10) copies can be created by sending editable and print-ready files to teachers to allow replication and expansion in partnership with local craftsmen.
Locally-made copies of the game are currently available in 12 schools, reaching a total student population of over 7,500. Some teachers and students were also interested in playing it online, which they can now do on Tabletopia.
A local artist, Tony Eshikumo ("Daddo"), also created illustrations to give the cards a more lively and playful appearance and to provide a visual cue toward their content.
A copy of the board produced in Nairobi.
Students in Tanzania can now play the new and improved, co-designed version of the game.
In July 2025, I was able to reconnect with the main English Teacher I worked with in Tanzania a year earlier. The game had taken off, and he wanted to expand and adjust it to better meet his students' educational needs as their learning had progressed.
I was grateful for this opportunity to circle back to the original context (even remotely) to rectify the mistakes I made the year prior and allow these students to continue enjoying the game, but with the right person (the teacher) in charge of its educational direction.
As in Kenya, this teacher also chose to focus on discussions about literature – allowing natural discussion in English beyond translation and even grammar.
Other teachers at this school have seen the game being used in English classes and are interested in adapting it for their geography, biology, and physics classes. This will be an additional focus of the game going forward, as well as creating copies for primary schools in this area now that it's been tested by younger kids.
In addition to testing the game for other non-language subjects (although you still must know English for a physics class in Tanzania, so you're learning English either way!), since returning from Kenya I have received additional feedback from a language expert to foster deeper learning through the game:
Include a debrief to be included after playing, allowing students to reflect and share what they learned each time they play.
Add additional layers of complexity. For example, if you name an animal, what are some ways you can describe it beyond just its name?
As noted in the project introduction, 40% of the world's population receives an education in a language other than their mother tongue. With the game's flexible design, I am excited to try exploring it in other contexts in addition to expanding it in its current ones. The game has shown great promise thus far to unlock creative learning and reduce educational barriers. I'm open to collaboration on this, so feel free to contact me if you're interested in exploring it together!
In addition to continued work on the game, I am currently in the process of analyzing the research data from Kenya and writing both a research paper and an academic poster.
Key Takeaway: Maintain relationships. Updates down the road can still benefit earlier audiences.
We Speak Kiingereza was developed as a solo project, however there were many co-designers and supporters who contributed to it in big ways that I would like to acknowledge.
Educational Content
Dr. Saulo Gouveia
Melock Kispan
Callen Mankone
Jastin Mlange
Steven Odembo
Emmanuel dos Santos Machado
Materials Production and Artwork
Tony Eshikumo (“Daddo”)
John Kangu
Mto wa Mbu Woodworkers
Translation/Language Support
James Kanuth
Maureen Ndelema (MS-TCDC)
Josephine Nguta
Camilla Zamboni
Tanzania Study Abroad Support
Gryson Brown
Barry Carr
Lucinde
Omushaija Ta Mwesigwa (“Alex”)
Michigan State University Support
Susan Bonner
Jayson Burnham
Dr. Amanda Cote
Kennedy Ellis
Grace Ekeoma Michael
Erik Goodman
Dr. Jean Hardy
Mariko Kawaguchi
Tyler Lindquist
Jonah Magar
MSU Portuguese Club
Ashley O'Brien
Dr. Jennifer Olson
Dr. Fred Poole
Claire Smith
Lee Sullivan
Owen VanderWeele
Dr. Susan Wyche
Kenya Support
Veronicah Bahati
Moses Bundi
Dr. Miriam Charimbu
Dr. Paul Kimurto
Kennedy Nyoro
Melvin Ochami
Ogutu Omori (“Peter”)
Ramon Thumbi
Others
Playtesting Participants
Funding
ComArtSci Scholarship
Mark Levy ICT4D Award
Mozilla Foundation
Thomas F. Baldwin Fellowship