From classroom corridors to the stage lights in Nyeri, young performers are turning Kenya’s biggest school arts gathering into a live conversation about technology, leadership, and survival in a changing economy, using drama and dance to reflect the realities shaping everyday life across the country.
At the 64th Kenya National Drama and Film Festival, ongoing at Kagumo Teachers Training College, Nyeri National Polytechnic, and Dedan Kimathi University of Technology, students are presenting performances that go beyond entertainment.
The productions are now being used to question governance, explore the effects of digital transformation, and raise concern about financial awareness among young people and communities.
This year’s theme, “Digital Stages: Driving Kenya’s Development Through Theatre and Film”, has guided performances that focus on how automation, political choices, digital access, and economic pressure are reshaping society.
One of the standout plays, “The Cyclone” by Eregi TTC, takes a political direction, telling a story of two brothers, Tembo and Mushimuli, who represent opposing leadership paths.
Tembo is portrayed as driven by personal ambition and destructive politics, while Mushimuli stands for people-centred leadership that prioritises healthcare, water, insurance, and financial support systems. The story builds toward Tembo’s downfall, delivering a cautionary message on leadership choices.
“The play reflects the cost of unchecked leadership and the possibilities of competent governance,” the scriptwriter noted.
Technology is also a major focus across several performances, especially its effect on employment and family life. In “Fire Me Feed Me”, staged by Tumutumu Primary School, a household is shaken after the father loses his job due to automation.
The story later shifts to optimism when the child in the family begins using digital tools to create new opportunities, showing how technology can both disrupt and rebuild livelihoods.
Agriculture, another key part of Kenya’s economy, is brought to life in Kwale High School’s dance piece “Blessed Machinery”. The performance captures the struggles of farmers dealing with water shortages and pests, while also presenting a future shaped by smart farming, automated irrigation, and modern agricultural technology.
Digital life and social media behaviour are also explored through student productions. Sigalagala National Polytechnic’s “Suzana” highlights the risks associated with misuse of online platforms, while St. John’s Tala High School’s “Power Edition” presents a contrasting message, showing how podcasts, live streaming, and other platforms can support creativity, inclusion, and talent development.
Financial literacy is emerging as one of the strongest themes running through the festival.
A cultural dance from Rae-Kanyaika blends traditional performance with modern financial education, encouraging communities to embrace saving through digital banking systems. Through music and choreography, the message focuses on planning for the future in a cashless environment.
“Our cultural dance aimed to sensitise the community on the importance of saving, especially now that there are accessible digital banking platforms,” said patron Steve Opiyo. “We wanted to show that even as we embrace technology, we can still use our cultural identity to pass important messages.”
Opiyo further explained that another performance addressed concerns over excessive phone use among learners, warning that digital access must be balanced with academic focus.
“While technology can empower, it can also distract. We are encouraging students to strike a balance between digital engagement and academic focus,” he said.
Inclusivity in education also features prominently in the performances. DePaul Austin Academy’s “I Sign, Come We Engage” tells the story of a girl whose education is disrupted by disability, but who later benefits from digital learning tools that open up new opportunities.
Director Ann Njau said the production is drawn from real experiences and aims to shift how disability is viewed in society.
“We want learners to understand that a special need is not an inability. With the right support and innovation, every child can fully participate in education,” she said.
Festival chairperson Professor CJ Odhiambo said the performances show how learners are connecting education with real-life issues, especially those linked to technology and social change.
“By engaging with these realities on stage, students are better equipped to navigate the tensions between tradition and a rapidly evolving technological landscape,” he said.
He also pointed to inequality in education, noting that challenges faced in informal urban settlements are similar to those in marginalised rural areas.
“As Kenya advances education reforms, policymakers must adopt a more inclusive lens that recognises deprivation across both rural and urban settings,” he said.
Odhiambo added that plans are underway to digitise the National Drama Festival, aligning it with wider education reforms and ensuring broader participation.
“The digitalisation of the festival is not an isolated effort—it is part of a wider journey to ensure all learners benefit from a nationally coordinated digital transformation,” he said.
He emphasised that the goal is to ensure no learner or institution is excluded as the country moves toward a more digitally connected education system.