Youth unemployment remains a major socio-economic challenge in Africa, with Kenya reflecting broader continental pressures of rapid population growth, labour market informality, and limited formal job opportunities. This paper explores the potential of the film production sector, within the wider creative economy, as a strategic pathway for youth employment, entrepreneurship, and sustainable livelihoods. Grounded in creative entrepreneurship theory and the Decent Work framework of the International Labour Organization, the study argues that institutionalised and market-oriented creative skills can foster inclusive economic participation.
Drawing on recent empirical and policy research, the paper analyses Kenya’s youth unemployment context and assesses how film production can absorb and empower young labour market entrants. Particular focus is placed on the Kenya Schools and Colleges Drama and Film Festival as an entry point for talent identification, skills development, and early industry exposure. When linked to tertiary institutions, vocational training, and government-supported creative funds, the festival can serve as a pipeline from school performance to professional film practice and entrepreneurship.
The study further evaluates the role of state institutions in strengthening training, policy frameworks, intellectual property protection, and market access. Although the creative economy contributes to GDP and offers digital growth opportunities, structural barriers persist. The paper concludes that coordinated collaboration among educational institutions, government agencies, and private sector actors is essential to transform film production into a sustainable engine for youth employment in Kenya.
Table of Contents
1. ABSTRACT
2. INTRODUCTION
3. Conceptual and Theoretical Framework: Cultural Entrepreneurship and Decent Work
4. Youth Unemployment in Kenya: The Challenge and Structural Context
5. Lessons from Comparative Initiatives
6. Conclusion
Research Objectives and Themes
The primary objective of this research is to critically evaluate how the film production sector in Kenya can be systematically leveraged as a strategic pathway to mitigate the persistent socio-economic challenge of youth unemployment. The study investigates the potential for transitioning creative skills into sustainable livelihoods by aligning educational training, government policy, and industry market demands.
- The role of the creative economy in addressing youth unemployment in Kenya.
- The function of film festivals and creative hubs as incubators for talent and employment.
- Evaluation of institutional frameworks (e.g., Kenya Film Commission) and legislative support.
- Analysis of structural barriers, including informality, limited financing, and weak distribution networks.
- The integration of creative arts education with professional entrepreneurship training.
Excerpt from the Book
The Kenya Schools and Colleges National Drama and Film Festival is a strategic entry point into the re-engineering process of absorbing paid talent into the film industry.
It, without emphasis, represents a potent entry point for young people into the creative industries. As the largest educational theatre and film event in Africa with roughly five million participants annually, the festival provides early exposure to performance arts, narrative construction, and media aesthetics, laying foundations for careers in film and broadcasting. Importantly, the festival operates not merely as cultural celebration but as a skills incubator. Youths exposed to dramatic arts — particularly film categories — acquire foundational competencies in acting, storytelling, and technical production, which can be further developed through vocational training or formal industry participation. Linking these school-level opportunities with industry-level professional pathways can create a pipeline of creative entrepreneurship, where festival participants progress into film production workshops, festival competitions, and ultimately, the wider creative labour market.
Chapter Summary
ABSTRACT: Summarizes the study’s focus on the creative economy as a solution for youth unemployment, highlighting the need for a coordinated ecosystem to transform the film industry into an employment engine.
INTRODUCTION: Provides a contextual overview of Africa's and Kenya's demographic challenges, emphasizing the urgent need for economic engagement for the youth to prevent social instability.
Conceptual and Theoretical Framework: Cultural Entrepreneurship and Decent Work: Establishes the study’s theoretical grounding in the ILO’s Decent Work agenda and creative entrepreneurship theory to define productive, equitable employment.
Youth Unemployment in Kenya: The Challenge and Structural Context: Analyzes the high youth unemployment rates and the potential for film production to absorb talent, noting the success of creative interventions in increasing incomes.
Lessons from Comparative Initiatives: Examines regional models like Lola Kenya Children’s Screen and the Canon Miraisha Programme to identify best practices and the critical importance of financial support.
Conclusion: Synthesizes the findings, arguing that formalizing the creative sector through policy, education-industry linkages, and improved financing is essential for sustainable employment.
Keywords
Youth Unemployment, Film Production, Kenya, Creative Economy, Decent Work, Creative Entrepreneurship, Talent Development, Skills Acquisition, Policy Framework, Digital Economy, Market Access, Education, Economic Participation, Labour Protection, Cultural Assets
Frequently Asked Questions
What is the core focus of this research paper?
The paper examines the film production sector in Kenya as a viable economic pathway to address and mitigate the persistent issue of youth unemployment.
What are the primary themes discussed in the work?
Key themes include the creative economy, talent incubation through festivals, policy-driven employment strategies, structural market barriers, and the integration of arts education into professional vocational training.
What is the ultimate research objective?
The objective is to determine how a coordinated ecosystem—involving government, educational institutions, and the private sector—can transform the film industry into a sustainable engine for youth employment.
Which scientific methodology does the author employ?
The study utilizes a critical review approach, drawing on recent empirical studies, government policy reports, industry analyses, and grounded theory perspectives to assess structural opportunities and constraints.
What topics are covered in the main section of the paper?
The main sections cover the theoretical framework of Decent Work, the demographic context of unemployment in Kenya, the role of institutional initiatives like the Drama and Film Festival, and the lessons learned from both local and international comparative models.
Which keywords best characterize this study?
The study is characterized by terms such as Youth Unemployment, Creative Economy, Film Production, Decent Work, Talent Development, and Policy Framework.
What role does the 'Kenya Schools and Colleges National Drama and Film Festival' play?
It acts as a 'skills incubator' and a foundational pipeline that introduces youth to technical and narrative competencies, serving as a critical entry point into the professional creative industries.
What does the author identify as a major structural barrier to industry growth?
The author highlights informality, limited access to financing, weak distribution networks, inadequate labor protections, and a lack of market-aligned training as primary barriers.
Why is the Creative Economy Support Bill, 2025, considered significant?
The bill is seen as a vital step toward regulating, protecting, and professionalizing the creative sector, which would help address current informality and provide necessary institutional support.
How does the author suggest transforming 'creative passions' into 'viable careers'?
The author advocates for embedding creative modules within vocational training, strengthening intellectual property rights, and facilitating better access to capital and digital platforms for young creatives.
- Citar trabajo
- Simon Otieno (Autor), 2026, Unemployment and Film Production in Kenya. A Critical Review, Múnich, GRIN Verlag, https://www.grin.com/document/1702837
