## 1.

Drugs and Substance Abuse

Details of the Evil:

This refers to the harmful, excessive, and compulsive use of intoxicating substances (illegal
drugs like cannabis, heroin, cocaine; legal drugs like alcohol, tobacco, prescription
medications).

Prevalence in India: Increasingly affecting youth, both in urban and rural areas. Factors
include peer pressure, stress, curiosity, easy availability, lack of awareness, and family
issues.
Consequences:
Health: Severe physical and mental health problems (organ damage, mental illness,
addiction itself).
Academic/Career: Decline in performance, dropouts, job loss.
Financial: Heavy expenditure on substances, leading to debt and poverty.
Social/Family: Breakdown of relationships, violence, crime, social isolation, stigma.
Safety: Increased risk of accidents, violence, and risky behaviors.
Myth vs. Reality: Many young people start due to myths that drugs enhance creativity,
provide escape, or are harmless "once in a while." The reality is often rapid addiction and
devastating consequences.

Angles for a Skit:

Peer Pressure & Vulnerability: Show how a seemingly innocent "dare" or desire to fit in
leads someone down a dangerous path.
The Slippery Slope: Illustrate how casual use quickly escalates to dependence and
addiction.
Impact on Family: Depict the suffering of parents, siblings, and friends as they watch a
loved one succumb to addiction.
The Cycle of Blame & Denial: Show how individuals or families might initially deny the
problem.
The Road to Recovery: Emphasize that help is available and recovery is possible, but it
requires courage and support.

Specific Examples for Skit Scenes:

A student secretly consuming substances, leading to poor grades and arguments with
parents.
A "cool" group of friends pressuring an hesitant new member.
A scene contrasting the user's perception of "fun" with the grim reality of their physical and
mental state.
A helpline number being shared, or a counseling session (simplified).

Skit Title: The Fading Hue

Theme: Drug and Substance Abuse (with a focus on peer pressure and the path to seeking
help)
Characters:

Narrator: Guides the audience through the story.

Arjun (Protagonist): A bright, initially hesitant student.
Rohan (The Tempter/Peer): Charismatic, manipulative, initiates Arjun into drug use.
Priya (Supportive Friend): Observant, concerned, and eventually helpful.
Mrs. Sharma (Teacher/Counselor): Observant, compassionate, represents
authority/guidance.
Arjun's Mother: Concerned, helpless initially, later relieved.
Background Students (Group A): Initially part of Rohan's circle, later observe Arjun's
decline.
Background Students (Group B - Silent Protestors): Hold up signs with messages and
helpline numbers.

Setting: Simple; can be a combination of school cafeteria/common area, a dimly lit corner
(representing 'the bad influence spot'), and Arjun's home.

---

Skit Script: The Fading Hue

(Lights up on a vibrant, lively school common area. Students are chatting, laughing. Arjun,
Rohan, Priya, and Group A are gathered.)

NARRATOR: (Calm, engaging voice) In the bustling corridors of our school, dreams are
born, friendships bloom, and futures are shaped. Meet Arjun, a bright student, full of
promise. But sometimes, even the brightest stars face shadows, shadows cast by choices...
and by others.

(Scene 1: The Lure of the "Cool" Crowd)

(Rohan is showing something discreetly to Group A, who look intrigued. Arjun approaches
them hesitantly.)

ROHAN: (Grinning, putting an arm around a Group A member) Hey, Arjun! Just chilling with
the squad. You always studying? Come on, loosen up a bit!

ARJUN: (Shyly) Hi. Just heading to the library. Got a test.

ROHAN: (Waving dismissively) Tests, schmetsts! Life's about experiences, man. We're
about to try something new, something that makes you really feel alive. (He winks, subtly
showing a small packet or roll from his pocket to Arjun, keeping it away from visible
teachers).

PRIYA: (Approaching, looking at Rohan with suspicion) What are you guys up to, Rohan?
Don't tell me it's more of your "experiments."
ROHAN: (Scoffs) Relax, Priya. It's nothing. Just... a quick energy boost. Right, guys? (Group
A nods, some looking a bit uncomfortable but going along). Come on, Arjun. Just a tiny puff.
It calms the nerves for that big test. Makes you focus!

ARJUN: (Hesitates, looks at the packet, then at Priya) I don't know...

ROHAN: (Pressuring) What, are you scared? Don't be a loser, Arjun. Everyone's doing it.
Just once. (He pushes the item slightly closer).

(As Rohan speaks, two Background Students (Group B) slowly walk across the stage in the
background, holding a sign that reads: "PEER PRESSURE IS NOT COOL." They hold it up
for a moment, then move to the side, remaining visible but not distracting.)

PRIYA: (Firmly) Arjun, don't! That's not what being "cool" is about.

ROHAN: (Ignoring Priya) Come on, Arjun. Just once. You won't regret it.

(Arjun looks between Rohan's tempting smile and Priya's worried face. He slowly reaches
out and takes the item. Lights dim slightly on Arjun as he succumbs.)

NARRATOR: The first step. Often small, seemingly insignificant. But every journey begins
with a single step, whether towards light or towards shadow.

(Scene 2: The Fading Spark)

(Lights shift to a dimly lit, isolated corner of the stage. Music changes to something slightly
melancholic or distorted. Arjun is now looking disheveled, yawning, and fidgeting. Rohan and
Group A are still with him, but Rohan seems more dominant, and Group A looks less
excited, more like followers. Priya watches from a distance, concerned.)

ROHAN: (Handing something to Arjun) Here, mate. You look like you need this. Didn't study
for the exam, huh? This will make you forget about it.

ARJUN: (Takes it, looking tired) Yeah... my head just spins. Can't focus on anything. Mom
keeps asking why I'm always tired.

GROUP A MEMBER 1: (Whispering to another) He's changed, man. He used to be so good

in class.

GROUP A MEMBER 2: (Shrugs) It's Rohan. He got him hooked.

PRIYA: (Walks closer, speaking softly to Arjun) Arjun, are you okay? You haven't been
yourself lately. You missed football practice again.

ARJUN: (Irritable, defensive) I'm fine, Priya. Just stressed. Leave me alone.

ROHAN: (Stepping in front of Arjun) See? He's fine. Just needs to chill. You don't get it,
Priya. (He gives Arjun another piece).
(Arjun takes it, slumps against the wall. Two Background Students (Group B) cross the stage
holding signs: "DRUGS STEAL DREAMS," and "ADDICTION IS A TRAP." They remain
visible.)

NARRATOR: The spark began to fade. The promises of euphoria turned into a dull ache.
The world, once vibrant, now seemed hazy, and the path ahead, dangerously unclear.

(Scene 3: The Call for Help)

(Lights shift to Arjun's messy room. Arjun's Mother enters, looking worried. Arjun is looking
pale, distracted, scrolling aimlessly on his phone.)

ARJUN'S MOTHER: Arjun, are you listening to me? Your grades are falling. You're always
sleeping, or you're irritable. What's going on?

ARJUN: (Snaps) Nothing, Mom! Just leave me alone! Everyone's always on my case!

ARJUN'S MOTHER: (Eyes welling up) I just want to help you, son. You're my son. I can see
you're suffering.

(Arjun looks away, tears in his eyes, but doesn't respond. The mother exits, looking
defeated.)

(Suddenly, Mrs. Sharma enters the scene. She observes Arjun from a distance, then
approaches cautiously. Priya could be with her, indicating she sought help from the teacher.)

MRS. SHARMA: (Gentle, calm voice) Arjun, may I have a word? Priya came to me. She's
worried about you. And frankly, so am I.

ARJUN: (Muttering) There's nothing to talk about.

MRS. SHARMA: (Sits beside him) We care about you, Arjun. You're too talented to let
something come in the way of your future. You don't have to carry this burden alone.
Whatever it is, we can find help.

(Mrs. Sharma extends a hand towards Arjun. Arjun hesitates, then slowly looks at her, then
at Priya who gives a supportive nod. He drops his head, finally breaking down. Mrs. Sharma
gently puts a hand on his shoulder.)

(As this happens, the Background Students (Group B) move to the front-center of the stage,
holding up a large sign with a clear HELPLINE NUMBER (e.g., "NATIONAL DRUG ABUSE
HELPLINE: 1800-11-2000") and "YOU ARE NOT ALONE.")

NARRATOR: Breaking the silence is the first step towards healing. It takes immense
courage, but it's a step that leads towards regaining one's true self.

(Scene 4: A Glimmer of Hope)

(Lights brighten significantly, music becomes uplifting. Arjun is standing with Mrs. Sharma
and his Mother. He looks much healthier and more engaged. Rohan and Group A are no
longer prominently featured, perhaps glimpsed in the background looking less confident.)

ARJUN'S MOTHER: (Hugging Arjun) I'm so proud of you, beta. It's been hard, but you're
getting stronger every day.

ARJUN: (Smiling faintly) It's because of you, Mom, and Mrs. Sharma, and Priya. I couldn't
have done it alone. I still have a long way to go, but I'm ready.

MRS. SHARMA: We knew you could do it, Arjun. Your future is bright, waiting for you to
reclaim it.

PRIYA: (Smiling) We'll play football again soon, right?

ARJUN: (A genuine smile) Absolutely!

(The Background Students (Group B) hold their signs high: "HELP IS AVAILABLE," "SPEAK
UP, SAVE A LIFE." All characters look towards the audience.)

NARRATOR: The journey from shadow to light is never easy. But with courage, support, and
the right choices, we can overcome any darkness. Remember, your life is too precious to let
its vibrant hue fade. If you or someone you know is struggling, speak up. Help is always
there.

(Lights slowly dim as the Narrator finishes. The helpline number sign remains prominently lit
for a moment before final blackout.)

---

Skit Directions & Tips:

Emotional Arc: Emphasize Arjun's transformation from bright, to vulnerable, to addicted, to

seeking help, and finally to recovery.
Subtlety: For drug use, avoid explicit depiction. Use props like small packets or rolls, or
mime gestures. The focus should be on the effect and the consequences.
Background Students (Group B): Their role is crucial. Their signs should be clear, concise,
and visible, acting as a direct message to the audience. They can move silently and
purposefully.
Sound & Lighting: Use these to enhance the mood – bright and lively for normal scenes,
dim and slightly distorted for addiction, then bright and hopeful for recovery.
Dialogue: Keep it natural. Arjun's initial dialogue can be shy, Rohan's manipulative, Priya's
concerned, Mrs. Sharma's empathetic.
Call to Action: The helpline number and messages on the signs are the most direct call to
action.
This script aims to be educational and impactful while remaining appropriate for a school
setting.

---

### 2. Discrimination (Caste, Religion, Regionalism, Gender, Economic Status)

Details of the Evil:

Unfair or prejudicial treatment of people and groups based on characteristics like caste,
religion, region (e.g., North-East vs. rest of India), gender, economic status, or appearance.

Forms in India:
Caste Discrimination: Deep-rooted historical issue, still prevalent in various forms (social
exclusion, denial of opportunities, violence).
Religious Discrimination: Growing concerns around communal tensions, bias in
employment, housing, or social interactions.
Regionalism/Xenophobia: Discrimination against people from certain states or regions
(e.g., North-Easterners in other parts of India, or migrants within a state).
Gender Discrimination: (Though you have a separate category for "Girl Child Education,"
broader gender discrimination includes workplace bias, property rights, etc.)
Economic Discrimination: Prejudice against the poor, or favoring the wealthy.
Lookism: Discrimination based on physical appearance.
Consequences: Social injustice, marginalization, loss of talent, psychological trauma,
conflict, and societal fragmentation.

Angles for a Skit:

Denial of Opportunity: Show a character being denied admission, a job, or participation in

an activity due to their background, despite being qualified.
Social Exclusion: Portray a character being ostracized or mocked for their regional accent,
traditional attire, food habits, or religious practices.
Internalized Discrimination: A victim starting to believe the negative stereotypes about
themselves.
Standing Up to Bias: A character challenging discriminatory remarks or actions, advocating
for inclusion and equality.

Specific Examples for Skit Scenes:

A new student from a different state/region facing subtle (or overt) bullying or exclusion.
A scene where a group refuses to share food or sit with someone from a different
caste/religion.
A debate where characters articulate arguments for and against judging people by their
background.
A moment where someone speaks out against a bigoted joke or comment.

---

# Skit Script: The Unseen Line

---

Theme: Discrimination (Focus on Caste, Religion, Regionalism, and the power of Empathy
and Inclusivity)

Characters:

Narrator: Guides the audience through the story.

Anjali (Protagonist): Bright, open-minded, challenges prejudices.
Ravi (New Student): Faces subtle discrimination due to his regional/background differences.
Ms. Dixit (Teacher): Observant, promotes equality.
Preeti (Initially Prejudiced Student): Represents common biases, but is open to change.
Vikram (Prejudiced Student): More overtly discriminatory.
Background Students (Group A): Engage in classroom/common activities, some showing
subtle bias, others neutral.
Background Students (Group B - Silent Protestors): Hold up signs with messages of
equality and inclusivity.

Setting: Simple; can be a combination of a classroom, a school common area/cafeteria, and

a sports field.

---

(Lights up on a typical bustling school classroom. Students are chattering, arranging their
books. Ms. Dixit enters.)

NARRATOR: (Calm, thoughtful voice) Our school, like our country, is a mosaic of different
cultures, languages, and backgrounds. We often celebrate this diversity. But sometimes,
invisible lines are drawn, separating us, and making others feel less than. These lines are
called discrimination.

(Scene 1: The New Comer)

MS. DIXIT: Good morning, class! We have a new student joining us today. Please welcome
Ravi! He's just moved here from another state.

(Ravi enters, looking a little nervous but smiling. He's dressed in simple, slightly different
attire than the others, perhaps hinting at a regional difference.)

MS. DIXIT: Ravi, please tell us a little about yourself.

RAVI: (A slight accent, perhaps a different style of english) Hello everyone. I'm Ravi. I'm from
Tripura one of the North eastern states of India,I love cricket and reading. I hope to make
good friends here.

(Some Background Students (Group A) whisper and exchange glances. Preeti looks curious.
Vikram snickers softly.)
MS. DIXIT: That's wonderful, Ravi. Welcome! Anjali, would you mind helping Ravi settle in
and show him around?

ANJALI: (Warmly) Of course, ma'am! Welcome, Ravi. Nice to meet you.

(Anjali gestures to an empty desk. Ravi sits down. Vikram makes a face, and Preeti looks a
bit unsure.)

NARRATOR: The first day. A mix of anticipation and apprehension. For Ravi, it was also the
first brush with the "unseen line."

(Scene 2: The Subtle Exclusion)

(Lights shift to the school common area/cafeteria during lunch break. Anjali, Preeti, and
Vikram are with Group A. Ravi stands a little awkwardly, holding his lunchbox, looking for a
spot.)

ANJALI: (Notices Ravi) Hey Ravi! Come join us!

PREETI: (Whispering to Anjali) Anjali, isn't he from that North-Eastern state umm Tripura or
something, They have different community, Their food smells different, right?

VIKRAM: (Loud enough for Ravi to hear, mockingly) Yeah, and their language sounds funny.
Maybe he won't understand our jokes.

(Ravi hears this, his smile fades. He slowly starts to move away.)

ANJALI: (To Preeti and Vikram, firmly but quietly) What are you talking about? That's rude!
Ravi, please come. Don't listen to them.

(As Vikram speaks, a Background Student (Group B) walks across holding a sign: "JUDGE
CHARACTER, NOT ORIGIN." Another follows with "UNITY IN DIVERSITY." They stand
visibly.)

RAVI: (Hesitantly) It's okay, Anjali. I'll just sit here. (He finds an empty table far away.)

PREETI: (Looks at Ravi, then at Anjali, a flicker of guilt) I... I didn't mean to be rude. I just...
my parents always say...

ANJALI: Our parents teach us what they know, Preeti. But it's up to us to learn what's right.
Everyone deserves respect, no matter where they're from, or what their background is.

NARRATOR: The lines appear, not just in actions, but in whispers, in assumptions, in the
way we look at someone "different." And the silence of good people can make those lines
stronger.

(Scene 3: The Stand Against Bias)

(Lights shift to the school sports field. Students are trying out for the cricket team. Ravi
performs exceptionally well, hitting impressive shots. Anjali cheers him on. Vikram is
watching, visibly annoyed.)

COACH: (Calling out) Excellent shot, Ravi! You're a natural!

VIKRAM: (To Coach, loudly) Coach, are you sure he should be on the team? I mean, he's
from somewhere in North east near China. Maybe he's not used to our style of play. Or...
what about his family's [caste/religious practice]? Will he even fit in with us?

(The Coach looks annoyed. Anjali steps forward, visibly upset.)

ANJALI: (To Vikram, her voice clear and strong) Vikram, that's completely unfair! What does
his background have to do with his talent? He's a brilliant player, that's all that matters! This
isn't about where he's from; it's about how well he plays!

PREETI: (Stepping forward, surprising herself) Yeah, Vikram. Anjali's right. He's really good.
My uncle says we should never judge a book by its cover... or a player by their origins.

(Ms. Dixit enters, having heard the commotion.)

MS. DIXIT: (Calm but firm) Anjali, Preeti, thank you for speaking up. Vikram, in this school,
we value talent, hard work, and good sportsmanship. We don't discriminate based on where
someone comes from, what their religion is, or their family's caste. Talent knows no
boundaries. Is that clear?

VIKRAM: (Muttering) Yes, miss.

(Two Background Students (Group B) hold up signs: "NO TO DISCRIMINATION!" and

"EQUALITY FOR ALL." They stand tall.)

NARRATOR: Speaking truth to prejudice is not easy. But every voice raised, every stand
taken, helps to erase the unseen lines that divide us.

(Scene 4: Erasing the Line)

(Lights brighten. Ravi is now comfortably sitting with Anjali and Preeti. Vikram is nearby,
looking slightly contemplative. Group A students are more integrated, some even interacting
with Ravi. The atmosphere is friendly and inclusive.)

ANJALI: (Smiling at Ravi) See? I told you everyone would see how good you are.

RAVI: (Grateful) Thank you, Anjali. And Preeti, you really surprised me.

PREETI: (Shyly) I guess... I was wrong. My parents don't really know much about people
from your place. I realize now that just because someone is different, doesn't mean they're
lesser.
VIKRAM: (Approaches, a little awkward) Hey, Ravi. Good shot earlier. Maybe... maybe you
can teach me that spin you did.

RAVI: (Smiling broadly) Sure, Vikram! I'd love to!

(Ravi, Anjali, Preeti, and Vikram share a genuine smile. Ms. Dixit watches, pleased.)

(The Background Students (Group B) now gather center stage, their signs now reading:
"EMPATHY CONNECTS US," and "BUILD BRIDGES, NOT WALLS." They lower their signs,
and then tear up a single, symbolic "line" made of paper.)

NARRATOR: The lines that divide us are often drawn by fear, by ignorance, by old traditions.
But they can be erased with knowledge, with empathy, and with the courage to choose
inclusion. Let's pledge to see beyond the superficial differences and embrace the rich
tapestry of humanity. For in every person, there's a unique story, waiting to be heard. Let's
make sure no one ever feels that unseen line again.

(All characters gather, smiling, looking at the audience, signifying unity. Lights slowly fade to
black.)

---

Skit Directions & Tips:

Subtle Discrimination: Initially, show discrimination not through outright hate, but through
whispers, exclusion, assumptions, and awkwardness. This is often more relatable for a
school setting.
Character Arc for Preeti: She represents someone who holds biases based on upbringing
but is open to changing her perspective. This shows how prejudice can be overcome.
Visuals for Ravi: You can use subtle costume choices (e.g., a specific print on his shirt) or a
slight accent to denote his "difference," but ensure it's respectful and not stereotypical.
Background Students (Group B): Their signs are the direct message delivery. They should
be clear, visible, and change to reflect the evolving message of the skit (from highlighting the
problem to offering solutions).
Empowerment: Emphasize Anjali's role in speaking up and Preeti's willingness to learn. This
shows active participation in combating discrimination.
Teacher's Role: Ms. Dixit serves as a guiding authority figure who reinforces the school's
values of equality.
Positive Ending: Focus on the reconciliation and the message of unity and acceptance.

---

### 3. Domestic Violence

Details of the Evil:

Violence or abuse committed by one person against another in an intimate relationship or
within a household, most commonly against women and children. It can be physical,
emotional, sexual, or economic.

Prevalence in India: A pervasive issue, often hidden due to societal norms, shame, and lack
of awareness about rights and support. It's not just physical abuse; constant verbal abuse,
controlling behavior, and financial deprivation are also forms.
Types of Abuse:
Physical: Hitting, pushing, slapping, kicking.
Emotional/Verbal: Constant criticism, insults, threats, humiliation, gaslighting.
Sexual: Any non-consensual sexual act.
Economic: Withholding money, preventing employment, controlling finances.
Consequences: Severe physical injuries, mental health issues (depression, anxiety, PTSD),
impact on children witnessing violence, loss of self-esteem, isolation, and sometimes death.
The Silence: Victims often suffer in silence due to fear, social pressure, economic
dependence, or lack of knowledge about legal recourse.

Angles for a Skit:

The Hidden Trauma: Focus on the psychological impact on the victim (e.g., a woman or a
child) and how they try to hide their pain from the outside world.
The Bystander Effect: Show how neighbors, friends, or relatives might ignore or dismiss
signs of violence, and then contrast it with someone who decides to intervene responsibly.
The Power of Seeking Help: Depict a victim finding the courage to reach out to a women's
helpline, a family member, a teacher, or a police officer.
Challenging Societal Norms: Address the idea that "it's a private family matter" or "women
should tolerate for family honor."

Specific Examples for Skit Scenes:

A character making excuses for bruises, or withdrawing from social activities.

A scene where a child subtly tries to alert someone to the tension or violence at home.
A family meeting where elders advise tolerance, contrasted with a younger, more aware
character advocating for action.
A powerful moment where a victim breaks their silence.

# Skit Script: The Walls that Whisper

---

Theme: Domestic Violence (Focus on physical, emotional, and economic abuse, the silence
of victims, and the importance of intervention and helplines.)

Characters:

Narrator: Guides the audience, provides context and emotional depth.

 Aisha (Protagonist/Victim): A young woman, initially withdrawn and fearful, later finds
courage.
Rajesh (Abuser): Aisha's husband, controlling and verbally/physically abusive. (Needs to be
portrayed carefully, focusing on actions, not caricaturing.)
Meera (Concerned Neighbor): Observant, empathetic, represents the caring outsider.
Mrs. Devi (Aisha's Mother): Represents traditional family pressure for silence, but also
underlying love.
Counselor/Helpline Voice (Offstage/Voiceover): Represents professional help.
Background Students (Group A): Act as neighbors, going about their daily lives, some
initially oblivious or hesitant to intervene.
Background Students (Group B - Silent Protestors): Hold signs with key messages and
helpline numbers.

Setting: A simple living room/kitchen area, suggesting a home. Can use minimal props.

---

(Lights up on a dimly lit stage. Aisha is quietly doing household chores, looking tired and
anxious. Rajesh enters, looking agitated.)

NARRATOR: (Soft, somber voice) Behind many closed doors, a silent battle rages. It's not
fought with swords or guns, but with words, with control, with fear. This is the unseen reality
of domestic violence, a shadow that often consumes the victims in their own homes.

(Scene 1: The Subtle Beginnings & Escalation)

RAJESH: (Snapping) Aisha, why isn't dinner ready yet? Are you deaf? I work all day, and
this is what I come home to?

AISHA: (Voice trembling) I was just finishing up, Rajesh. It'll be ready in five minutes.

RAJESH: Five minutes? What were you doing all day? Dreaming? You're useless! Can't
even manage a simple house. (He might push a chair roughly or slam a hand on a table,
making her flinch.) And where's that money I gave you for groceries? You probably wasted it
on something silly, didn't you? Give me the remaining change!

AISHA: (Hesitantly) I used it all. Prices have gone up, Rajesh.

RAJESH: (Leans in, threateningly) Don't lie to me! You always make excuses. I'm telling you,
if I find out you're cheating me... (He gives her a harsh look and walks off to another part of
the stage, still within view, grumbling.)

(Aisha visibly shrinks. She quickly starts preparing food, her hands shaking. Meera, a
neighbor, passes by the "doorway" of the set, hearing faint raised voices, looks concerned
but hesitant to intervene. Mrs. Devi (Aisha's mother) is on a phone call, perhaps hearing
some of the commotion.)
MRS. DEVI: (On phone, worried) Yes, yes, everything is fine. Just... a little argument. That's
how married life is, no? (She sighs.)

(As Rajesh speaks threateningly, a Background Student (Group B) walks slowly across the
stage with a sign: "ABUSE IS NOT LOVE." Another follows with "SILENCE FUELS
VIOLENCE." They remain visible in the background.)

NARRATOR: It starts subtly. A harsh word, a controlling gesture. Then it grows. Like a vine,
it chokes the light, isolating the victim in a cage of fear and shame.

(Scene 2: The Physical & Emotional Toll)

(Lights dim slightly further. Aisha now has a slight bruise on her arm (can be simulated with
makeup or implied). She tries to cover it with her saree. She looks even more withdrawn.)

MEERA: (Knocks gently on the "door," enters cautiously) Aisha, dear? Are you okay? I
haven't seen you outside much lately. And I heard... some shouting.

AISHA: (Forces a smile, hiding her arm) Oh, Meera. No, no. Everything's fine. Just... a little
clumsy. I bumped into the door. (She glances nervously towards Rajesh, who is reading a
newspaper and ignoring them.)

MEERA: (Skeptical, but not pushing) Are you sure? You can talk to me, you know.

AISHA: (Whispering) It's just... married life. My mother says all couples fight. It's normal.
(She looks at her mother, Mrs. Devi, who nods solemnly from another corner of the stage,
perhaps tidying up, also indicating acceptance of the situation.)

RAJESH: (Loudly, without looking up) Aisha! Get me tea! And don't make that face. You look
like you swallowed a lemon!

(Aisha flinches and hurries to make tea. Meera looks sadly at Aisha, then at Rajesh, and
shakes her head. She exits, looking conflicted. The Background Students (Group A) might
briefly exchange glances, showing they are aware but not acting.)

(The Background Students (Group B) hold up new signs: "DOMESTIC VIOLENCE: NOT A
PRIVATE MATTER." and "IT'S A CRIME, NOT A CHOICE.")

NARRATOR: The bruises aren't always visible. Sometimes, the deepest wounds are on the
inside. The fear, the humiliation, the constant walking on eggshells – these are also forms of
violence.

(Scene 3: The Breaking Point & The Helping Hand)

(Lights focus on Aisha. She is alone, holding her face in her hands, crying silently. She looks
at a picture of herself from her wedding day – happy, hopeful – then looks at her bruised
arm. The contrast is stark. She slowly takes out her phone, hesitant.)
AISHA: (To herself, sobbing) I can't... I can't live like this anymore. This isn't normal. This
isn't love.

(She slowly types a number. A Counselor/Helpline Voice speaks softly from offstage or as a
voiceover.)

COUNSELOR (VOICE): Hello? Women's Helpline. How can I help you?

AISHA: (Voice trembling, barely audible) Hello? I... I don't know who else to call. I'm Aisha.
I... I think I need help. My husband... he... (She breaks down.)

COUNSELOR (VOICE): (Calm and reassuring) It's okay, Aisha. Take a deep breath. You're
safe right now. You've been very brave to call. We're here to listen. Tell us everything. You
are not alone.

(As Aisha talks, Meera (the concerned neighbor) walk in, having been alerted, and offer
silent support, perhaps a hand on Aisha's shoulder. Simultaneously, Rajesh could enter the
stage and look confused or angry, seeing her talking on the phone, but he holds back,
unsure, as if his power is already diminishing.)

(The Background Students (Group B) move forward, holding their signs prominently:
"NATIONAL WOMEN HELPLINE: 181," and "SPEAK UP, BREAK THE CYCLE." They
remain static, a wall of support.)

NARRATOR: That one phone call. That one desperate cry for help. It's the moment the
victim decides to reclaim their life. It's the first brick removed from the wall of silence.

(Scene 4: Towards Healing and Hope)

(Lights brighten significantly. Aisha is now with Counselor, looking much calmer and more
confident. The bruise is gone. Rajesh is not on stage, or if he is, he's looking subdued and
perhaps being led away by unseen figures, signifying justice/intervention. Mrs. Devi, Aisha's
mother, now looks relieved and supportive.)

COUNSELOR: Aisha, you've made incredible progress. Remember, you have rights. The
Protection of Women from Domestic Violence Act, 2005, is there to protect you.

AISHA: (Stronger voice) I know now. I know I deserve to be treated with respect, with dignity.
It was so hard to speak up, but it's the best decision I ever made.

MRS. DEVI: (Holding Aisha's hand, tearful) My daughter... I was wrong to tell you to tolerate
it. No woman should ever have to live in fear. I'm so sorry, my angel. I'm here for you now.

MEERA: (Enters, smiling) And so are we, Aisha. We all need to look out for each other. If we
see something, we must say something.

(All characters look towards the audience, emphasizing the message of collective
responsibility.)
(The Background Students (Group B) present their final, most hopeful signs: "YOU ARE
NOT ALONE," "SEEK HELP, FIND FREEDOM," and the "181 HELPLINE" prominently
displayed.)

NARRATOR: Domestic violence thrives in silence. But it shatters when we dare to speak,
when we offer a hand, when we support victims in finding their voice. Let's pledge to be
allies, to educate ourselves, and to never let the walls of fear whisper in anyone's home
again. Every voice against violence builds a safer society.

(Lights slowly fade. The helpline number sign remains illuminated until final blackout.)

---

Skit Directions & Tips:

Portrayal of Abuse: Be extremely careful with physical abuse. Do not actually hit or show
graphic violence. Use implied actions (e.g., a sudden flinch, a sudden loud sound offstage,
the bruised arm appearing in the next scene). The emotional impact is often more powerful
than explicit violence in a school setting.
Rajesh's Character: He should be controlling and menacing, but avoid making him a
caricature. His actions are the evil, not necessarily his entire being.
Emotional Arc for Aisha: Show her transformation from fear to courage, highlighting the
difficulty but also the relief of speaking out.
Mrs. Devi's Arc: Her character can represent the generational acceptance of domestic
issues, and her journey to understanding the need for intervention is powerful.
Helpline Numbers: Make them clear and prominent. National Women Helpline: 181 is a
crucial number in India. You can also add state-specific ones if you know them.
Bystander Role: Meera shows the struggle of a bystander and the importance of action.
Group A subtly shows that others might be aware but passive.
Empowerment: The ending focuses on Aisha's newfound strength and the collective support
that helps victims.
Lighting and Sound: Use these to create atmosphere – dim lights for suffering, brighter for
hope. Harsh sounds for arguments, softer for support.

This skit aims to educate, empathize, and empower, encouraging both victims and
bystanders to take action against domestic violence.

---

### 4. Child Labor

Details of the Evil:

The employment of children in any work that deprives them of their childhood, interferes with
their ability to attend regular school, and is mentally, physically, socially or morally harmful.
 Prevalence in India: Despite laws, it persists in various sectors (domestic work, small
factories, agriculture, brick kilns, tea stalls, street vending). Poverty, illiteracy of parents, lack
of awareness, and large family sizes are contributing factors.
Impact:
Education: Denied schooling, leading to a cycle of poverty.
Health: Exposure to hazardous environments, long working hours, malnutrition, injuries,
diseases.
Mental/Emotional: Loss of childhood, stress, trauma, reduced cognitive development.
Social: Perpetuates social inequality and exploitation.

Angles for a Skit:

Lost Childhood: Contrast a child labor's daily grind with other children going to school,
playing, or celebrating festivals.
The Exploiters: Show the callousness of employers who take advantage of desperate
families.
The Role of Poverty: While not excusing the evil, subtly show the desperate circumstances
that push families to send children to work.
Intervention & Rescue: A compassionate individual, an activist, a teacher, or a police officer
intervening to rescue a child and enroll them in school.

Specific Examples for Skit Scenes:

A child falling asleep in a hazardous workplace after a long shift, dreaming of school.
A conversation between a child laborer and a child going to school, highlighting their
contrasting lives.
A factory owner haggling over a child's "wage" with a desperate parent.
A "raid" by authorities or NGOs, leading to the child's rescue and enrollment in a learning
center.

---

# Skit Script: The Stolen Sunrise

---

Theme: Child Labor (Focus on the loss of childhood, education, and the cycle of poverty,
highlighting the importance of schooling and intervention.)

Characters:

Narrator: Guides the audience, providing context and emotional impact.

Chotu (Protagonist/Victim): A young child (can be played by a slightly older student) forced
into labor. Energetic but tired.
Malik (Employer): Harsh, exploitative, focused only on profit.
Meena (School Student): Represents children enjoying their childhood and education, kind
and curious.
Teacher/Social Worker: Represents hope, intervention, and the power of education.
Chotu's Mother (Voiceover/Implied): Desperate, regretful but helpless.
Background Workers (Adults/Older Students): Perform repetitive, dull tasks to show the
environment.
Background Students (Group B - Silent Protestors): Hold signs with key messages and
helpline numbers.

Setting: Simple; can transition from a dark, cramped "workshop/factory" area to a bright,
open "school/playground" area. Minimal props needed (e.g., small tools, bags, books).

---

(Lights up on a dimly lit, cluttered area representing a workshop or tea stall. Chotu, dressed
in ragged, dirty clothes, is doing a repetitive task – perhaps polishing shoes, mixing tea, or
sorting small items. He looks tired and unkempt. A few Background Workers are also quietly
working.)

NARRATOR: (Solemn voice) While the sun rises on a new day, bringing promises of learning
and play for many, for millions of children, it heralds only another day of toil. Their laughter is
silenced, their dreams put on hold, and their tiny hands forced into labor. This is the unseen
evil of child labor.

(Scene 1: The Daily Grind)

MALIK: (Entering, sternly) Chotu! Are you still dawdling? The tea won't make itself, boy!
Faster! We have customers. (He might push a small broom or tool at Chotu.) And don't
forget, if you break anything, it's coming out of your pay. What little you get, that is.

CHOTU: (Yawning, rubbing his eyes) Yes, Malik Sahab. I'm doing it.

MALIK: (Scoffs) "Doing it." You should be grateful I even give you work. Your family needs
every rupee, don't they? Now get back to it!

(Chotu sighs, rubbing his tired hands. He briefly looks towards an imaginary window, as if
seeing something outside. The sound of children laughing faintly can be heard offstage.)

(As Malik speaks, a Background Student (Group B) walks slowly across the stage with a
sign: "CHILDHOOD IS SACRED." Another follows with "EDUCATION, NOT
EXPLOITATION." They remain visible.)

NARRATOR: Every dawn brings not the joy of playtime, but the burden of responsibility. For
Chotu, the only lessons were in hardship, and the only playground was the dusty ground
where he worked.

(Scene 2: A Glimpse of the Other World)

(Lights shift slightly, revealing a brighter section of the stage – perhaps a school entrance or
a playground. Meena, dressed in a neat school uniform, is excitedly holding books. She
notices Chotu.)
MEENA: (Approaching cautiously, curiously) Hi. Why aren't you in school? It's recess time.

CHOTU: (Startled, hides his work briefly) School? I don't go to school. I work.

MEENA: (Confused) You work? But... you're so small. Don't you want to learn? Read books?
Play? We learned about planets today! And we have a drawing competition next week.

CHOTU: (Looks wistful) Planets? Drawing? (He sighs deeply.) My mother says I have to
work. We need the money for food. My little sister is sick.

MEENA: Oh. (Looks genuinely sad.) But... you should be playing. Everyone should go to
school. My teacher says it's our right.

(Malik appears in the background, glaring at Chotu.)

MALIK: (Shouting) Chotu! What are you doing? Stop wasting time! Get back to work! (He
drags Chotu roughly back to the "workshop" area.)

(Meena looks on, shocked and saddened. The Background Students (Group B) hold up new
signs: "NO CHILD LEFT BEHIND," and "BREAK THE CHAIN OF POVERTY." They remain
visible.)

NARRATOR: A brief glimpse into another world. A reminder of what has been stolen. The
laughter, the learning, the simple joy of being a child.

(Scene 3: The Intervention)

(Lights dim on the workshop again. Chotu looks even more tired. He coughs. Malik is
counting money, indifferent.)

MALIK: That's it for today. Here's your pay. (He gives Chotu a few coins, far less than he
deserves.) Don't be late tomorrow.

CHOTU: (Quietly) My sister needs medicine. Can I have a little more, Malik Sahab?

MALIK: (Snaps) More? You think money grows on trees? Get out of here! And don't come
back unless you're ready to work harder.

(Chotu slowly walks away, looking utterly defeated. He slumps down in a corner. A voiceover
of his mother can be heard.)

CHOTU'S MOTHER (VOICEOVER): (Sad, resigned) I know it's not right, my son. But what
choice do we have? We are so poor.

(Suddenly, the Teacher/Social Worker enters. Meena might be with them, having alerted
them. They see Chotu huddled alone.)
TEACHER/SOCIAL WORKER: (Gentle, concerned) Hello, little one. Why are you sitting
here all alone? And why aren't you in school?

CHOTU: (Hesitates, fearful) I... I work.

TEACHER/SOCIAL WORKER: Work? But you are a child. You should be in school, learning,
playing. It's against the law for children your age to work. Your family needs help, not for you
to work.

(They gently approach Chotu. Malik might see them and try to usher Chotu away, but the
Teacher/Social Worker stands firm.)

TEACHER/SOCIAL WORKER: (To Malik, firmly) Child labor is illegal. This child has a right
to education and a childhood. We're here to help him and his family.

(Malik looks nervous, backing away. The Background Students (Group B) move forward,
holding their signs prominently: "CHILD LABOR IS A CRIME," and "CHILD HELPLINE:
1098.")

NARRATOR: Sometimes, all it takes is one person to see, to care, to act. One voice to
challenge the darkness and bring hope.

(Scene 4: The Path to the Sunrise)

(Lights brighten dramatically. The scene transforms into a vibrant classroom or a playground.
Chotu is now dressed in a neat (perhaps simple, clean) uniform, holding a book, a faint smile
on his face. He might be interacting with Meena, or drawing. The Teacher/Social Worker
smiles proudly.)

TEACHER/SOCIAL WORKER: Every child deserves a sunrise. A morning filled with the
promise of learning, laughter, and a bright future. When we put an end to child labor, we
don't just free hands; we free minds, we free futures.

CHOTU: (Looks up, pointing to a drawing) Look, Meena! This is a planet! And I'm going to
learn about all of them!

MEENA: (Smiling) That's wonderful, Chotu!

(Chotu's Mother's voiceover, this time sounding relieved and hopeful.)

CHOTU'S MOTHER (VOICEOVER): Now, my child can dream. Now, my child has a chance.

(All characters look towards the audience, emphasizing the message of collective
responsibility.)

(The Background Students (Group B) present their final, most hopeful signs: "ENROLL
EVERY CHILD," "CHILDREN ARE OUR FUTURE," and the "1098 HELPLINE" prominently
displayed.)
NARRATOR: The stolen sunrise can be returned. But only if we, as a society, open our eyes,
extend our hands, and ensure that every child gets the gift of childhood and the light of
education. Report child labor. Support education. Let every sunrise be a promise, not a
burden.

(Lights slowly fade. The helpline number sign remains illuminated until final blackout.)

---

Skit Directions & Tips:

Chotu's Portrayal: He should evoke empathy. His tiredness, longing, and eventual small joys
are key.
Malik's Character: Needs to be the antagonist, representing the exploitative system. His
focus on profit and disregard for the child's well-being should be clear.
Contrast: The visual and auditory contrast between the dark, dull workshop and the bright,
lively school/playground is crucial.
Meena's Role: She's the innocent catalyst, representing the ideal childhood and sparking
Chotu's longing.
Helpline Numbers: Make them very clear and prominent. Childline India: 1098 is the
national helpline.
Emotional Arc: Focus on the journey from despair to hope, emphasizing that change is
possible through intervention and education.
Dialogue: Keep Chotu's dialogue simple and direct, highlighting his reality. The
Teacher/Social Worker's dialogue should be firm yet compassionate.
Ending Message: A strong, clear call to action for the audience.

---

### 5. Girl Child Education

Details of the Evil:

The discrimination against girls that prevents them from accessing or completing quality
education. This is distinct from broader gender inequality by specifically focusing on the right
to education.

Reasons in India:
Societal Preference: Traditional preference for sons (who are seen as earners and
caregivers in old age).
Financial Burden: Families with limited resources prioritize boys' education.
Early Marriage/Child Marriage: Girls are married off young, ending their education.
Safety Concerns: Long distances to schools, lack of toilets, and fear of harassment.
Domestic Responsibilities: Girls often expected to help with household chores or care for
younger siblings.
Lack of Awareness: Parents may not understand the long-term benefits of educating girls.
Consequences: Limited opportunities for girls, perpetuation of poverty, poor health
outcomes, lack of empowerment, and hindered national development.
Angles for a Skit:

The Unfulfilled Dream: A bright, ambitious girl eager to learn, but her parents decide to
educate her brother instead or marry her off.
The Cycle Breaker: A girl (or her mother, or a teacher) who fights against societal norms to
ensure her education, eventually proving her worth and inspiring others.
Community Awareness: Show a community meeting or a discussion where people are
educated about the benefits of girl child education (e.g., healthier families, economic
contribution, breaking cycles).
Safety & Infrastructure: A scene highlighting challenges like long walks to school or lack of
facilities, and how solutions can be found.

Specific Examples for Skit Scenes:

A girl secretly reading textbooks while doing chores.

A powerful monologue about the dreams of an uneducated girl.
A community leader or a school principal convincing parents to send their daughters to
school.
Show a future scene where an educated girl becomes a role model for her community.

--

# Skit Script: The Unfolding Scroll

---

Theme: Girl Child Education (Focus on societal biases, economic barriers, child marriage,
and the empowering impact of educating girls.)

Characters:

Narrator: Guides the audience through the story, provides context.

Deepa (Protagonist): A bright, eager young girl who dreams of going to school.
Ramesh (Deepa's Father): Initially traditional, prioritizes a son's education, later sees the
light.
Laxmi (Deepa's Mother): Loves Deepa but feels helpless due to societal norms and poverty.
Village Elder / Panchayat Member: Represents traditional community views, initially
resistant to change.
Sunita (Deepa's Friend): Also denied education, shows the common plight.
Ms. Rao (Teacher/Advocate): A persistent, passionate educator who champions girl child
education.
Background Villagers (Group A): Engage in village activities, some holding traditional views,
others neutral.
Background Students (Group B - Silent Protestors): Hold signs with key messages and
slogans.

Setting: A simple village backdrop. Can be a home, a village common area, and a school
entrance.
---

(Lights up on a simple village home. Deepa is diligently trying to read an old, worn book,
while her younger brother, Rohan (unseen, but his voice is heard offstage) plays with a toy.
Laxmi is doing chores.)

NARRATOR: (Warm, gentle voice) In many villages, the morning sun brings with it the
promise of a new day. For some children, it means books and learning. But for others,
especially for girls, the path to knowledge is often blocked by unseen walls, built of old
beliefs and difficult realities.

(Scene 1: The Dream and the Obstacle)

DEEPA: (Reading aloud, excited) "...and the little bird flew high, beyond the tallest trees!"
Mama, when can I go to school like Rohan? I want to learn to read all the stories!

LAXMI: (Sighs, lovingly strokes Deepa's hair) Oh, my daughter. Your brother is a boy. He
needs to go to school to find a good job for the family. For girls... it's different.

DEEPA: Different how, Mama? I can learn just as fast as Rohan!

(Ramesh enters, looking tired after a day's work.)

RAMESH: (To Laxmi, a bit gruffly) What's all this talk about school again? Deepa, your place
is learning how to manage the home, prepare for your marriage. We need to save money for
Rohan's fees, not waste it on a girl who will just go to another house.

DEEPA: (Heart sinking) But Papa, I want to learn!

RAMESH: (Firmly) Enough. Help your mother with the chores. Sunita, your friend, she also
helps her mother, no? (He looks at Laxmi, who looks down, helpless.)

(Sunita enters, carrying a small bundle of firewood.)

SUNITA: (To Deepa) My mother says the same. Books are for boys. We have to learn to
cook and clean.

(As Ramesh speaks, two Background Students (Group B) slowly walk across the stage with
signs: "GIRL CHILD: EQUAL RIGHTS TO EDUCATION," and "STOP CHILD MARRIAGE."
They stand visible.)

NARRATOR: The ancient whispers of tradition, the heavy burden of poverty. These become
unbreakable chains, holding back dreams, dimming the brightest of lights.

(Scene 2: The Silent Protest & The Advocate)

(Lights shift to a village common area. Some Background Villagers (Group A) are chatting,
some women are doing chores. Deepa and Sunita are watching other children walk towards
the school in the distance, carrying bags, looking wistful. The Village Elder sits, observing.)

VILLAGE ELDER: (To another villager) These new ways... girls going to school. What's the
use? They'll just get married and leave. Better to teach them household skills.

MS. RAO: (Enters, a passionate teacher, carrying educational leaflets) Hello, everyone!
Good morning! Have you thought about enrolling your daughters in school?

RAMESH: (Approaching, dismissive) Ms. Rao, it's not practical. We need hands at home.
And then there's the dowry, the marriage expenses... school is an extra burden.

MS. RAO: But Mr Ramesh, an educated girl is not a burden; she is a blessing! She can bring
honour, knowledge, and even income to her family. Do you know, an educated mother is
more likely to have healthier children? An educated girl can uplift her entire family!

VILLAGE ELDER: (Scoffs) These are city ideas, madam. Our traditions are old.

(As they speak, the Background Students (Group B) stand more prominently, their signs now
reading: "EDUCATE A GIRL, EDUCATE A NATION," and "HER DREAMS MATTER." )

MS. RAO: Traditions can evolve, respected Elder. Knowledge does not diminish tradition; it
strengthens it. Imagine a future where our daughters are doctors, teachers, leaders! Don't
they deserve that chance?

(Deepa and Sunita listen intently, their eyes filled with a glimmer of hope. Laxmi looks
thoughtful.)

NARRATOR: The voices of reason, the persistent calls for change. Slowly, they begin to chip
away at the walls of prejudice, revealing a different path.

(Scene 3: The Unfolding Future)

(Lights brighten dramatically. Music becomes uplifting. It's a few years later. Deepa, now
slightly older, is wearing a neat school uniform, carrying a school bag. She looks confident
and happy. Sunita is also in uniform, or perhaps working in a small, educated capacity.
Ramesh and Laxmi beam with pride. Ms. Rao smiles warmly.)

RAMESH: (Proudly) My Deepa... she came first in her class! And she's teaching me how to
read the newspaper now!

LAXMI: (Teary-eyed) My daughter, she's so smart. She even helps us with our accounts for
the farm. Who knew a girl could do so much?

DEEPA: (To her parents, warmly) It's because you let me go to school, Papa. You gave me a
chance. Now I can help our family, and maybe even our village.
SUNITA: (To Deepa) And because of you, my parents are thinking of sending my younger
sister to school too! You inspired them.

MS. RAO: (Smiling) This is the real power of education. It doesn't just change one girl's life;
it changes entire families, entire communities.

(The Village Elder approaches, looking respectful.)

VILLAGE ELDER: (To Ramesh) Your daughter, she has shown us the way. We were wrong.
Knowledge is indeed a light that shines on everyone.

(All characters look towards the audience, emphasizing unity and progress.)

(The Background Students (Group B) now step forward, holding their signs high, now
proclaiming: "GIRL POWER THROUGH EDUCATION," "BRIGHTER FUTURE FOR ALL,"
and "BETI BACHAO, BETI PADHAO!" (Save the Daughter, Educate the Daughter). They
hold a symbolic "unfolded scroll" or a book opened wide.)

NARRATOR: The scroll of knowledge, once closed to so many, is now slowly unfolding. With
every girl child who enters a classroom, a new chapter begins, not just for her, but for her
family, her community, and her nation. Let's ensure every girl gets the chance to write her
own story, to choose her own destiny, and to shine her brightest.

(Lights slowly fade. The "Beti Bachao, Beti Padhao" slogan and images of educated girls
remain prominently lit until final blackout.)

---

Skit Directions & Tips:

Emotional Arc: Show Deepa's initial yearning, her family's hesitation, the societal barriers,
the teacher's advocacy, and finally the family's pride and the community's shift in
perspective.
Characters: Ramesh's transformation is key. He's not evil, just misguided by tradition and
financial strain. Laxmi's helplessness turning into pride is also significant.
Symbolism: The "unfolding scroll" or book represents knowledge being opened up. The
contrast between dim and bright lighting can be effective.
Dialogue: Ensure the arguments against girl child education are realistic but then countered
effectively by Ms. Rao. The final dialogues should convey joy and empowerment.
Call to Action: The "Beti Bachao, Beti Padhao" slogan is a direct and recognized call to
action in India. The background students with signs are crucial for delivering this.
Authenticity: Use simple, relatable language and scenarios that reflect village life, without
stereotyping.

This skit aims to be inspiring and informative, urging the audience to support and champion
the education of every girl child.