Growing up in the vibrant city of Lagos, the economic capital of Nigeria, we were fortunate to have a handful of talented musicians who brought joy to our lives. Artists like King Sunny Ade, Onyeka Onwenu, Sunny Okosun, Oliver De Coque, and many more filled our parties, family gatherings, and playdates with their memorable songs. These tunes were clean, sometimes nostalgic, and always got us on our feet, but unfortunately, there was a prevailing societal belief that musicians were rebellious and wayward. Parents discouraged their children from aspiring to be artists, and even among peers, it was unspoken of. Our aspirations were limited to becoming doctors, lawyers, engineers, bankers, or perhaps business people. The older generations appreciated the beautiful music, yet they didn't want their own children to pursue it. It was an ironic situation indeed.

As time passed, American pop artists emerged, capturing our attention with their music and fashion, relegating our childhood songs to the background. We even teased our parents for enjoying "oldies." Then came the late '90s and the new millennium, and we witnessed the rise of groups like Plantashun Boiz, The Remedies, and Infinity.

However, the opportunity to engage our generation in music education was nearly lost. Some of us managed to embrace it, while new parents began exploring music lessons at home. Some schools introduced music into their curriculum, albeit at an additional cost. More recently, private schools have fully embraced music as a subject on their timetables and offered it as an enrichment activity, with children still taking private lessons at home.

Despite these efforts in certain circles, what about public schools and private schools in low-income neighborhoods? More often than not, music lessons are absent from their curriculum. Children in these communities are primarily exposed to mainstream music through radios, televisions at home or at friends' houses, neighborhood music stores, public transport vehicles or parks, and now, their parents' phones. This limited exposure means the children never truly learn the art of music, particularly African music, which encompasses singing styles, genres, instruments, cultural elements, dance, and a wealth of knowledge. Even among those currently taking music lessons, a deep understanding of African music is rapidly fading away, and the primary custodians of this knowledge are the aging older generations.

Recognizing this concerning knowledge gap, the African Music Library has launched a new initiative called Foster. Foster aims to bridge the intergenerational gap in African music education and ensure its accessibility to children in underprivileged African communities. Moreover, Foster seeks to help these children discover and cultivate their creative potential.

Through Foster, we have established a platform that offers numerous opportunities for all African creatives to contribute and ensure that the knowledge and art of African music are not lost within one generation. We want to pass it on to future generations, regardless of whether we are still here or not.

To learn more about how you can join or volunteer with Foster, click here.

Foster, is an innovative music education Programme aimed at empowering disadvantaged schoolchildren across Africa.

Foster: Bridging the Gap in African Music Education

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