CBE, social ills on the cross at drama festival

The recently concluded 2026 Kenya National Drama and Film Festival has once again affirmed that young people hold up a mirror to society.

Through plays, choral verses, cultural dances, narratives, spoken word, mime, and even live television broadcasts, learners used the stage to interrogate the realities shaping their lives.

From inequality in education and mental health struggles to digital disruption, gender roles, and systemic failures, the festival became a powerful national conversation driven by young voices.

At the heart of many performances lay a shared frustration: a system that promises opportunity but often fails to deliver it equitably.

Vihiga High School’s play Grace in the Gutter follows Antony Amlyoto, a gifted Grade 10 student with a passion for robotics and computer programming, yet trapped in a poorly equipped cluster four school.

Through his journey marked by torn uniforms, sleepless nights, and constant ridicule the play exposes the lived realities of thousands of learners navigating poverty and systemic neglect. Antony is labelled a “virus”, suspected of theft, and dismissed as a troublemaker, even as his brilliance quietly grows.

“The system is full of errors… what is the meaning of a lamp that is lit and put under a bed?” he asks in one of the play’s most powerful moments.

His lament reflects a broader national concern: that talent alone is not enough in a system constrained by inequality. Even well-meaning interventions fall short.

In a dramatic twist, Antony’s innovation in an AI-based teaching programme wins a national competition and earns him Sh1 million. His triumph is both inspiring and unsettling: a reminder of how close the system came to losing him.

This tension between promise and preparedness runs through many festival pieces, particularly those addressing the Competency-Based Education (CBE) curriculum.

Fesbeth High School’s The 4th Wiseman shifts the conversation to integrity, telling the story of a student who refuses to participate in examination malpractice despite immense pressure. His stand sparks institutional reform, suggesting that character remains central to national progress.

Gender and identity also took centre stage, with performances challenging long-held norms.

Perhaps one of the most symbolic performances was Kisumu Girls’ cultural dance Juogi, a tribute to the late Raila Odinga. The dance tells the story of a girl, Awiti, who defies tradition to play the nyatiti, an instrument reserved for men. Initially rejected, she gains acceptance after her talent is recognised online, turning resistance into celebration.

“The story challenges deeply rooted beliefs about gender roles. It shows that talent has no gender,” said one of the directors.

Meanwhile, Kaaga Girls’ choral verse Promax X-Tra X-Tra captured the urgency and uncertainty surrounding CBE.

“The train of CBE has left the station, no turning back,” the performers declared, even as they acknowledged “limited capacity and inadequate facilities.”

Mwaani Girls’ Papasa Spa raised questions about inclusivity, asking whether learners in different systems can harmoniously coexist under the new curriculum.

Together, these pieces highlight a system in transition full of potential, yet burdened by gaps in implementation.

But if education inequality is the foundation of the conversation, mental health is its emotional core.Maranda High School’s The Misfit delivered one of the festival’s most haunting narratives. Alpha, a student grappling with anxiety, retreats into writing letters to himself.

His story is intertwined with that of Icon, a bullied student who spirals into despair and attempts suicide. The play does not shy away from assigning responsibility.

In the spoken word category, Makueni Girls delivered a deeply emotional piece, Barua Kapa, which won best spoken word on career choices. The performance depicted a student overwhelmed by academic pressure under CBE, expressing her struggles through a heartfelt letter.

“I write this letter not with ink, but with tears,” the performer lamented, capturing the psychological toll of expectations placed on learners.

Another moving performance came from the narrative Namayana, which highlighted stigma and trauma. The story follows a student ostracised for a condition later revealed to be linked to female genital mutilation. Through powerful storytelling, the piece addressed issues of health, discrimination, and empathy.

This theme was echoed in Moi Girls Marsabit’s The Sound of Silence, which explored how untreated trauma can erupt into violence, and Mime Salama Senior School’s Drowning on Dry Land, which tackled stigma around conditions like bedwetting, linking it to depression and isolation.

Across these performances, learners were not just telling stories they were demanding systems of care, empathy, and understanding.

Equally compelling is the exploration of technology and its dual role as both enabler and disruptor.

In Meru School’s The Radio, students challenged elders by introducing a community radio station, symbolising youth innovation in the face of resistance.

This tension played out in modern formats as well. St John Tala High School’s live broadcast The Shift and ACK Ndalani Senior School’s Nuru ya Mafanikio integrated TikTok, podcasts, and digital storytelling, reflecting how young people are redefining communication.

At St. Charles Lwanga, the solo dance The Lens of Raya portrayed a young artist whose passion for photography is dismissed in favor of conventional careers. His journey from rejection to recognition underscores the need to embrace diverse talents.

In more sobering tones, the festival confronted issues of abuse and exploitation.

The spoken word piece Waridi Lilofukaa delivered a deeply emotional account of sexual abuse within the family, breaking the silence around a topic often hidden.

Similarly, Moi Girls Marsabit’s cultural dance Agum Argani highlighted the dangers children face, including exploitation by trusted figures, while narratives like Shifura revealed how financial pressure can lead students into harmful choices.

Poverty, in many ways, underpins these struggles.

At St Lucy School for the Visually Impaired, the SNE dance Makinya Ja Wirigiro told the story of a girl who overcomes economic hardship to pursue education, supported by her community. Her journey from struggle to success embodies resilience and collective effort.

St Augustine Mlolongo’s solo dance Second Chance echoed this theme, showing how innovation and social media can transform lives.

Environmental awareness also found space on the stage with Moi High School Mbiruri’s The Mosquito Squad 2 and Ikuu Boys’ Unsafe Bite emphasizing hygiene and public health.

Importantly, this year’s festival also highlighted growing inclusivity.

Special Needs Education (SNE) performances, such as those by St. Lucy School for the Visually Impaired, demonstrated that talent transcends physical limitations.

Their participation in mainstream categories signals a shift towards a more inclusive creative space.