TSC Launches Retooling for Senior School Media Technology, Film and Theatre Teachers

Cohort One Teachers to Begin In-Person Media, Film and Theatre Training on 23rd November

Retooling Senior School Teachers for Media Technology, Film and Theatre: What the TSC’s New Programme Means for CBE

On 16th October 2026, the Teachers Service Commission (TSC) circulated an internal memo to all Regional and County Directors announcing a retooling programme for Senior School teachers in Media Technology, Film and Theatre.

The memo, referenced TSC/D(TPM)/MEMOS/CDS/40/VOL.III/74, is a short document with large consequences.

It signals that the Commission is moving to close one of the most visible capacity gaps in the rollout of the Competency-Based Education (CBE) curriculum: preparing teachers to deliver the creative and technical subjects that sit within the Sports and Creative Arts Pathway.

Why this programme matters

CBE was designed to shift Kenyan education away from heavily examination-driven learning toward the development of practical competencies.

At the senior school level, learners choose from three pathways, and the Sports and Creative Arts Pathway is where talent, creativity and technical skill take centre stage.

Subjects such as Media Technology, Film and Theatre are not meant to be taught from a textbook alone. They require cameras, editing software, sound equipment, stages and, above all, teachers who can use these tools confidently and teach others to do the same.

That is the gap the TSC is addressing. A curriculum is only as strong as the people delivering it. For Grades 10, 11 and 12, a teacher who has never edited video, operated a sound console or directed a stage production will struggle to guide learners through the practical demands of these subjects, no matter how well-designed the syllabus.

The retooling programme is therefore not a peripheral activity; it is a core part of making the pathway work.

What the programme sets out to achieve

According to the memo, the programme is designed around three broad goals.

The first is to equip teachers with the technical competencies, pedagogical knowledge and practical skills needed to deliver the Media Technology, Film and Theatre curriculum.

Technical competence and teaching competence are distinct. A skilled photographer is not automatically a good teacher of photography, and an experienced teacher is not automatically comfortable with digital production tools. The programme aims to bring both strands together.

The second goal is to strengthen teachers’ ability to apply learner-centred instructional approaches. This is central to the philosophy of CBE, which positions the learner as an active participant rather than a passive recipient.

In practice, this means project-based learning, collaborative production work, performance, critique and reflection, with the teacher acting as a facilitator and mentor rather than a lecturer.

The third goal is to help teachers integrate emerging media technologies into the learning process. Media and film are among the fastest-changing fields in the world.

Tools, platforms and production techniques evolve constantly, and learners are already immersed in digital media outside the classroom.

Teachers who can bring current technologies into their lessons will be better placed to keep learners engaged and prepare them for opportunities in the creative economy.

Theory and practice together

One of the most important features of the programme is its structure. The memo states that the training will be both theoretical and hands-on, ensuring participants acquire the requisite competencies.

This is a sensible design choice. Teachers need to understand the concepts, principles and assessment requirements of the curriculum, but they also need time with the equipment and techniques they will be teaching.

A purely theoretical workshop would leave participants no better prepared to run a practical lesson on camera framing or stage lighting.

A purely practical one might build personal skills without showing teachers how to translate them into structured learning experiences and assessment.

Combining the two gives teachers a better chance of leaving the training ready to apply what they have learned in their own schools.

Who will be trained

The programme draws participants from schools delivering Media Technology, Film and Theatre at senior school level, covering Grades 10, 11 and 12.

All nominees must be confirmed through the official TSC nomination process, which keeps selection structured and accountable.

The memo also sets a baseline expectation of digital literacy. Participants must be able to use email, access a Learning Management System (LMS) and operate a computer.

These requirements are modest, but they matter. The LMS is likely to be a significant channel for course materials and follow-up learning, so teachers who cannot navigate it will be at a disadvantage.

Teachers who feel less confident with these basics would do well to strengthen them before the training begins.

Three categories of eligible teachers

The memo identifies three groups of target participants, and together they reflect the varied reality of who is teaching these subjects in Kenyan schools.

The first group comprises TSC-registered teachers and Teacher Training College (TTC) tutors who hold a recognised teaching qualification, namely a Diploma in Secondary Teacher Education (DSTE), a Bachelor of Education (B.Ed.) or a Diploma in Teacher Education (DTE), from an accredited institution.

This group includes both regular and Special Needs Education (SNE) streams, and all must currently be assigned to deliver Media Technology, Film and Theatre under CBE.

The explicit inclusion of SNE teachers is noteworthy, as it reflects a commitment to making creative arts education accessible to learners with diverse needs.

The second group consists of TSC-employed teachers and tutors who hold additional qualifications in relevant fields.

These include a certificate, diploma, bachelor’s or postgraduate qualification in areas such as Mass Communication, Film and Theatre, Graphic Design, Animation, Sound Production, Audio and Video Editing, Photography and Videography, or a related creative discipline from an accredited institution.

These teachers already bring valuable technical grounding, and the programme can help them align that expertise with the demands of the CBE curriculum.

The third group is perhaps the most interesting. It covers TSC-registered teachers and tutors who currently lead or supervise related co-curricular activities such as drama, film, journalism and media clubs.

For years, many teachers have nurtured creative talent through clubs, festivals and competitions without formal recognition of those skills in the curriculum.

The memo acknowledges that these teachers require formal competency recognition and curriculum alignment support to move into structured CBE delivery.

For many, this offers a pathway to turn long-standing passion and experience into recognised professional standing.

Timelines and delivery

The training will be rolled out in two cohorts. Nominated teachers from cohort one counties are required to attend in-person training from 23rd November 2026 to 12th December 2026, in identified cluster venues.

That is a three-week residency, a substantial commitment that reflects the depth of content to be covered. Cohort two will be trained in April 2027 in scheduled training hubs.

The cluster and hub model is practical. Clustering teachers at selected venues allows the Commission to concentrate equipment, facilitators and resources in one place rather than spreading them thinly across the country.

It also creates opportunities for teachers to network, share ideas and build professional communities that can outlast the training itself.

The role of County and Regional Directors

The memo is addressed to Regional and County Directors, and their role will be decisive. They are responsible for ensuring that nominations follow the official TSC process, that eligible teachers are identified and informed in good time, and that schools are prepared for the absence of teachers who will be away for three weeks.

Clear communication will be essential, particularly given that the first cohort’s training begins little more than a month after the memo’s date.

School heads also have a part to play. Releasing teachers for the training, arranging cover for their classes and supporting them afterwards when they return and begin applying new skills will determine how much of the programme’s value reaches learners.

Challenges to anticipate

No retooling programme of this scale is without challenges, and it is worth naming a few that stakeholders should keep in view.

Equipment is the most obvious. Training teachers is only half the equation. If schools lack cameras, computers, editing software, sound equipment or performance spaces, newly trained teachers may find it difficult to apply what they have learned.

Closing that gap will require continued attention from education authorities, school management and communities.

Sustainability is another. A single three-week training, however well delivered, cannot cover everything. Follow-up support, mentorship, refresher sessions and opportunities for peer learning, possibly through the LMS mentioned in the memo, will help embed the skills over time.

Finally, there is the matter of equity. With only some counties in the first cohort and others waiting until April 2027, teachers and learners in cohort two areas may face a delay.

Clear communication about timelines will help manage expectations and keep morale high.

A step toward a stronger creative education

Despite these challenges, the TSC’s initiative deserves recognition. By investing in teachers rather than leaving them to improvise, the Commission is acknowledging that the success of CBE depends on people as much as policy.

The programme’s blend of technical training, pedagogical development and hands-on practice is well suited to subjects that are inherently practical.

For teachers, the programme is an opportunity to gain formal recognition, build confidence and join a growing community of creative educators.

For learners, it promises better-taught lessons and a more realistic chance to develop skills that could lead to careers in film, broadcasting, digital content creation, performance and the wider creative industries.

For the country, it is an investment in a sector that increasingly contributes to employment, culture and national identity.

Teachers who believe they qualify should confirm their eligibility under the three categories outlined in the memo, speak to their school heads and County Directors about the nomination process, and begin preparing, starting with the basic digital skills the programme assumes.

For those in cohort one counties, the date to keep in mind is 23rd November 2026.

If the TSC delivers this programme well, it could mark a turning point in how Media Technology, Film and Theatre are taught in Kenyan senior schools: not as an afterthought, but as a fully supported and professionally delivered part of the CBE pathway.