Changing the perception of Classical music in African Society (By Igiri Innocent)

Changing the perception of Classical music as music for only the elite in African Society (By Igiri Innocent)

For a long time, foreign music in Africa has been widely celebrated beyond any other music in African continent mostly amongst Churches and elite of the African society; and the perception has been that that type of music is meant for only elites. The reason is not far from the explanation that foreign classical music by the virtue of its solemn and touch is highly valued and possibly reserved for learned persons and scholars amongst others, and therefore making the ordinary mind to chase other forms of music as their only choice or least level. From East to West, or from North to South, classical music is often a one-sided affair which is a proxy for African progress.

Little exceptions have been from South Africa, Kenya, Nigeria, Ethiopia, and Cape Verde and some other neo-German African countries that have recognized the depth of classical music tradition and the opportunity and the need for earnest implementation of certain regulations in schools to encourage local community participation and growth in classical music knowledge. To that effect, more attention has been drawn to the recent rise of African classical music composers and high level of ambition for proper participation amongst every 7 in 10 African children with the capacity to even expand more and more. As I have illustrated, the real value of classical music is yet to be fully understood by various economies in African continent.

Harnessing this value requires a new approach to classical music practicing; it requires a shift from a narrow focus on a complicated interpretation to broader elements of classical music system that includes African understanding of the logic and style; a new approach which will present classical music as a veritable support tool in achieving the “African developmental dreams” holistically. And quite frankly, a lot of African children from different regions are at risk of being left behind in this area as others expand and deepen their knowledge, love and acceptability of classical music throughout some other Africa regions.

This year alone, Universities across 7 African countries celebrated the graduation of about 1,377 classical music students in a great feast, and presented them to the general society positively with their classical music skills.

As I have buttressed; with all the efforts by professionals in the field, to change the perception of classical music in Africa and indeed into the future, and further to all generations of Africa, we should consider two goals for promotion and sustainability of the overall endowment of it to humans.

First, we need to identify those areas where classical music can help Africans capitalize on opportunities to rise and develop in global businesses rather than indoor possibilities. Second, create a competitive platform for African musicologists or classical music performers to build strategic, long-term performance engagement in other to ensure continuous vigorous participation and thereby generate more acceptability of the tradition amongst Africans.

As a musicologist, recitalist and a passionate classical music lover, the question I am most often asked by my peers abroad is not whether I should organize classical music festivals or concerts in Africa, but how to do it to ensure active public participation. To achieve maximum audience in any classical music gathering in Africa one needs to work extensively across value chains -- and create new focus towards that particular gathering. For example, instead of directing the public focus to lives of G.F. Handel, Mozart, or any other European composer simply because you are going to perform their works on a planned concert, you should instead direct their focus on the result you intend to achieve through the concert, and other things respectively. Like focusing on the goals and targets of the SDGs, commercial interests of persons, and values attached to it.

Investing in classical music shows in Africa is not a business wise decision at this point however it is best done under some kind of insurance policy to back up the overall return on investment.

I will agree that value-added classical music show investment is necessary due to several trends shaping Africa today: the growing population of working-age adults, rapid urbanization, a growing consumer class, smarter age, stronger technology and increasing agreement that the private sector should lead Africa's economic growth. These trends combine to increase taste for leisure and entertainment can generate high growth for classical music sector.

The good news is that diversification is well under way as policymakers across the continent strive to build the capacity for strategic sectors to move up the value chain.

The Church and private institutions in Africa have an important role to play in this transformation by rethinking their own approach to classical music practice and development as it will surely have a place in the future of Africa. This sector needs their assistance to focus more on nurturing African youths to play a more productive role and change their ill-perception of classical music for good.

I would plead with every well-meaning African to support classical music fares anytime any day by helping to turn these write up into concrete action. This will lead to a meaningful and lasting change that benefits Africans.

Africa is Music!

Music is Africa!

By IGIRI INNOCENT