‘THIS PRODUCTION HAS BEEN CANCELLED’: THEORIES OF REPRESENTATION AND THE LIMITS OF EDUCATION PRACTICES IN KENYA
Abstract
Purpose: This study aimed to investigate the complexities surrounding educational drama in Kenya, particularly examining the absence of a clear framework, the prevalence of cancel culture, and their implications on drama education practices.
Statement of the Problem: Educational drama in Kenya lacks a clearly defined framework, resulting in ambiguity regarding objectives, target audiences, thematic boundaries, and evaluation methods. Consequently, this has led to instances of censorship and cancel culture, affecting practitioners' ability to use drama effectively for education and social engagement.
Methodology: The research employed a qualitative approach, reviewing existing literature and case studies related to educational drama practices, theories of representation, and cancel culture within Kenya's educational settings. The analysis drew upon theoretical frameworks such as Social Representation Theory, Critical Pedagogy, Semiotics, Postcolonial theory, Feminist theory, and Plato’s theory of Mimesis.
Results: The findings indicated that the absence of a robust pedagogical framework significantly contributes to the emergence of cancel culture in educational drama. Practitioners reported feeling restricted creatively due to fears of censorship, resulting in self-censorship and diluted educational content. Additionally, cancel culture has led to cancellations of school-based drama performances, negatively impacting educational outcomes and societal dialogues on sensitive issues.
Conclusion: Educational drama is crucial for fostering critical thinking, empathy, and cultural understanding in Kenyan education; however, its effectiveness is undermined by unclear frameworks and cancel culture. Addressing these issues is imperative for enhancing educational drama's potential and fostering inclusive, meaningful cultural exchanges in Kenyan schools.
Recommendation: The study recommends the establishment of a clear, comprehensive framework for educational drama that balances artistic freedom with cultural sensitivity and inclusivity. Additionally, there should be proactive dialogue among stakeholders—educators, theatre practitioners, policymakers, and community leaders—to mitigate the impacts of cancel culture and promote a supportive environment for educational drama in Kenya.
Keywords: Education drama, theories of representation, cancel culture
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