THE ABSENT MIRROR: DISABILITY REPRESENTATION IN KENYAN DRAMA AND THEATRE FESTIVALS

Abstract

This study examines disability representation in Kenyan festival theatre, focusing on the Kenya National Drama Festival (KNDF), Kenya Music Festival (KMF), and Kenya Universities Performing Arts Association (KUPAA). Grounded in Reception Theory, the study interrogates the extent to which these platforms function as authentic social mirrors, particularly in their inclusion or exclusion of persons with disabilities in scripting, casting, and performance. Despite theatre’s role as a reflective and transformative cultural space, preliminary observations indicate that disability remains underrepresented, often relegated to segregated categories or portrayed through limited and stereotypical frameworks. The study adopts a qualitative research design, employing purposive and snowball sampling techniques to identify key participants, including scriptwriters, directors, performers, adjudicators, and audience members with relevant experience in festival theatre. Data is collected through in-depth interviews, focus group discussions, and performance analysis, allowing for a comprehensive exploration of both production practices and audience reception. The use of snowball sampling further enables access to participants within networks that may otherwise remain underrepresented, particularly individuals with lived experiences of disability. Findings reveal that the structural and ideological organisation of festival theatre contributes to the marginalisation of persons with disabilities, thereby limiting the scope of representation and reinforcing narrow audience perceptions. The study argues that the segregation of “special” performances undermines inclusive practice and fails to reflect the integrated nature of everyday social life. It further posits that meaningful inclusion requires a shift toward integrative representation, where disability is normalised within mainstream theatrical narratives and performance spaces. Indeed, this study contributes to ongoing scholarly debates on inclusivity in the performing arts. It offers practical recommendations for theatre practitioners and festival organisers on how to reimagine scripting, casting, and staging practices to foster equitable participation. Ultimately, the study seeks to reposition Kenyan festival theatre as a more inclusive and representative cultural space that aligns with the diverse realities of contemporary society.