Drama fest erupts into protest stage as students demand better country

On the fourth day of the National Drama and Film Festival—following the Butere Girls High School play saga—more schools took to the stage with similar bold themes.

Through fictional narratives, students exposed the nation’s deep seated corruption, crumbling health system, and the dashed hopes of creative youth yearning for opportunity.

The performances carried a collective plea: to be seen, heard and understood by the world around them.

The annual National Drama and Film Festival, known for nurturing young talent, has this year become a bold platform for protest.
Following the controversial Butere Girls High School Act, students are now using the stage to confront systemic failures and demand change through powerful performances.

Leiser Hill Academy from Kajiado North stood out with their production ‘Slosh of a Wash’, written by Anthony Kirimi and Lilian Madigo.
Set in the fictional Halem neighbourhood, the play lays bare the harsh realities faced by youth trapped in cycles of corruption.

At the center of the play is Festus, a corrupt county council leader who reroutes the community’s free water supply to fuel his private business—an act that starkly symbolizes the betrayal of public trust.

When the town faces a water shortage, Festus falsely blames a youth-run car wash operated by Savio, a determined young man trying to earn money for his ailing mother’s medication.

The closure of the car wash marks the downfall of many dreams, pushing talented youth into pickpocketing, drug abuse and crime.

“This play captures the plight of young people after high school, struggling in a society that misunderstands them,” said Lydia Gichohi, a teacher at Leiser Hill. “The students speak as youth, voicing their fight for survival.

Savio’s story also critiques corruption within religious institutions. Festus, who doubles as a church leader, manipulates his authority over Savio’s family, who depend on church aid for medical treatment.

This power dynamic silences dissent—mirroring how political donations to churches in Kenya often buy loyalty and mute criticism from congregations reliant on their generosity.

In line with the festival’s theme of embracing technology, Slosh of a Wash also celebrates youth innovation. The characters expose Festus’s scheme and invent “Eco-Wash,” a water-saving solution that revives their business. This inventive turn offers a beacon of hope, showcasing the power of young minds to tackle real-world challenges.

Butere Girls’ unperformed ‘Echoes of War’, penned by former UDA Secretary General Cleophas Malala, shared a similar vision. Set in the fictional Middle Eastern kingdom of Royal Velvet, it explores a generational divide. The youth, tech-savvy and rights-conscious, clash with an older generation wary of change.

Figures like Mama Anifa represent tradition, while Mustafa, a young IT student, embodies ambition. The elders, backed by the authoritarian Sultan, dismiss the youth’s dreams as “juvenile myopia,” a jab echoing real-world critiques of Kenya’s Gen Z. The script mirrors the June 2024 anti-government protests, where Kenyan youth decried economic burdens and misrule. In Royal Velvet, Mustafa develops a telemedicine app to revolutionize healthcare but faces a regime that rewards loyalty over merit. Government jobs go to the Sultan’s allies, leaving qualified youth sidelined.

Maranda High School’s MakMende, written by Brian Ong’iyo and produced by Dr Edwin Namachanja, tackled healthcare failures with humor and bite.

Narrated by Hussein Mohammed and Bill Thoya, it follows Desmond Ng’uono, a student misdiagnosed with a “cockroach in his chest” by a Level 5 hospital. Sent to India for surgery—funded by costly fundraising due to his family’s lack of insurance—Desmond learns the error stemmed from a cockroach-infested X-ray machine at the Kenyan facility. His ordeal exposed medical negligence, rallying students, teachers, and politicians for reform.

“The play shows how healthcare failures affect children, starting at school dispensaries,” said teacher Paul Wafula. “It’s a story many Kenyan families relate to, spending heavily due to local negligence. We’re advocating for grassroots health system fixes.” MakMende’s comedic lens doesn’t dull its critique, mirroring Kenya’s underfunded hospitals and frequent misdiagnoses.
These performances turned the festival into a mirror of Kenya’s struggles, amplifying youth voices in a nation where they’re often ignored.

Butere Girls’ protest set the stage, inspiring peers to confront corruption, healthcare woes, and suppressed potential through art. Their narratives, though fictional, held undeniable truths, drawing parallels to real-world issues like the 2024 protests, where Gen Z demanded accountability.
The adjudicators faced a challenge: how to evaluate such raw, provocative work alongside traditional plays. Yet, the students’ courage left a lasting impact, sparking debates about art’s role in activism. Parents and attendees, moved by the performances, praised the youth for their boldness. “These students are our future,” said one spectator.

“They’re not just acting—they’re demanding change.”
The festival’s theme of technology shone through, with plays showcasing innovation as a tool for progress—Eco-Wash, telemedicine apps, and social media as catalysts for revolution. This focus underscores the youth’s role as digital natives, ready to reshape Kenya if given the chance.
As the curtains fell, the students’ message lingered: corruption must end, healthcare must heal, and youth must be empowered. Their stage became a megaphone, urging leaders to listen and society to act.

In a country wrestling with its future, these young voices—through satire, tragedy, and defiance—proved that art can ignite change, one performance at a time.