Music and dance are essential components of daily life in Nigeria; the rhythm is palpable wherever one travels. Soundscapes from Nigeria permeate the globe and feature prominently on numerous playlists. Nigerians, from children playing on plastic buckets to church choirs, from barbershops blasting Afrobeat to festivals in most cities, to the Calabar Carnival, Africa’s biggest street party, buzzing with dance and rhythm, have always relied on music as a means of expressing themselves and coping with daily life stress. Every community lives, breathes, and shares it.

As a nation, our educational institutions are still catching up to global best practices for incorporating informal music, despite the plethora of global Afrobeat artists and superstars, such as Burna Boy, Wizkid, Davido, and Tems, who all learnt their music informally through observation, imitation, and collaboration with others. Let’s pause for a moment and imagine how incorporating informal music pedagogy into our school system could enhance our music education, unlock the creativity of our youth, protect and preserve our traditions, boost music tourism, and contribute to the economy.

During my studies in the United Kingdom, I investigated the informal music practices prevalent in schools and the UK’s national plan for music education, seeking to understand how students engage with music outside the constraints of formal curricula. As a music teacher with experience instructing students in Nigeria, the United Arab Emirates, the United Kingdom, and currently the United States, I have observed firsthand the diverse ways in which young people interact with music. A common thread emerged from all these experiences: students are typically more active and imaginative outside of class, while traditional music instruction centres on theory, notation, and organised practice. Although many students struggle to pay attention in traditional music classes, they often demonstrate remarkable musical passion and talent when they explore music at their own pace. This engagement often occurs through activities such as singing with friends, listening to music with headphones, practising instruments at home, or participating in a choir or band.

This observation led me to explore the work of Lucy Green in How Popular Musicians Learn (2002), which offers intriguing details about informal music learning. Green shows that young people frequently acquire musical abilities through imitation, experimentation, collaboration, and peer learning, rather than relying solely on formal instruction or reading notation. Her research emphasises the need to empower students to take ownership of their education by promoting creativity, self-expression, and hands-on involvement with music. The NTA’s children’s favourite programme, “Tale by Moonlight,” mirrors Nigeria’s oral traditions by exemplifying the transfer of drumming, storytelling, and singing folk tunes through active participation while learning from elders, which serves as a prime illustration of informal musical practices.

The UK has taken such practices seriously in its education system. In 2022, the British government launched The Power of Music to Change Lives, a national plan that invested £75 million in “music hubs.” These hubs connect schools with local organisations, musicians, and cultural institutions. Children gain access to instruments, ensembles, choirs, and even pathways into professional careers. Importantly, many of these programmes embrace ear-based and peer-led learning, inspired by Green’s research. Innovative programmes, such as Musical Futures, inspired by Lucy Green’s work, have influenced teaching worldwide, along with the national plan and hubs. This model fosters informal music practices and empowers students to take charge of their own learning. We have a thriving music industry and a rich history of oral music transmission. By incorporating informal learning along with the formal music curriculum in our schools and developing a distinct national music plan to leverage our large population of young, intelligent individuals, we can create jobs, engage our young minds and transform our economy.

Afrobeat and informal music practices in Nigeria

The legendary Fela Ransome-Kuti introduced Afrobeat to the Nigerian music scene on August 18, 1968. The growth of Afrobeats music has been exponential. In 2023, Burna Boy sold out stadiums across Europe and the United States. Tems became the first Nigerian woman to win a Grammy. The genre has emerged as one of Nigeria’s most significant exports, demonstrating the significant role of music in shaping a nation’s identity, fostering national growth, and garnering global recognition.
Most young people now sit in the comfort of their home with software and a mini studio to craft beautiful sounds, following the steps of most Afrobeats producers. They do this through listening and playing by ear (see Green 2002; 2008) and keenly observing established musicians, not necessarily through formal music instruction. This is akin to the long-established oral traditions in Nigerian societies that allow for participatory learning activities where children learn and interact with rhythms by joining drum circles, singing folk songs during chores, and learning musical instruments in church or village gatherings. Additionally, apprenticeships with master drummers, praise singers, or griots provide valuable informal learning experiences. Griots also offer valuable informal learning experiences.

Informal music learning doesn’t just build skills; it sparks creativity and adaptability. Afrobeats has gained global popularity due to its foundation in experimentation, collaboration, and innovation.

Towards an Inclusive Nigerian Music Education Model

To prepare our youth for the future, Nigeria must embrace and preserve its informal traditions by integrating them alongside formal curricula. This does not mean turning every spontaneous practice into rigid classroom exercises; rather, it means valuing and protecting them as legitimate, culturally grounded learning methods. This will include:
• Developing localised music programmes alongside the formal music that celebrate Afrobeat, Fuji, Highlife, and traditional dance.
• Creating cultural centres and state-level music hubs that provide instruments, training, and community partnerships.
• Introducing music technology courses in secondary schools and colleges to connect tradition with innovation.
• Recognising apprenticeship-style learning with community musicians, drummers, or producers as a valid part of music education and providing certifications to help them build their careers and get jobs.
The increasing influence of the Nigerian language and its people has resulted in most institutions in the United States teaching the Nigerian language. Consequently, we must prioritise the localisation and expansion of our music, dance, and musical instruments. Nigeria can both preserve its traditions and prepare the next generation of global music leaders by investing in such approaches.

Conclusion
Music in Nigeria has consistently thrived beyond the classroom; however, the global landscape is evolving. As Afrobeats gains global prominence, we can capitalise on this opportunity to enhance informal learning practices by localising programs, incorporating indigenous genres, acknowledging informal training, and leveraging technology. We can establish a distinctive music education system. Integrating informal music learning methodologies into our curriculum would undoubtedly be an advantageous initial step. From village drumming to worldwide stages, Nigeria’s informal music traditions illustrate that learning outside the classroom could help develop future superstars.

David Jacob is an international music educator. He co-founded the Hope Waddell Society of Music and the Discovery Tones Creative Hub. In 2024, he received full funding for a PhD in music education from the State University of Pennsylvania, USA. He is currently the liaison officer of GoodChoir.

References  

Department for Education. (2022). The power of music to change lives: A national plan for music education. UK Government. https://www.gov.uk/government/publications/the-power-of-music-to-change-lives-a-national-plan-for-music-education

Green, L. (2002). How popular musicians learn: A way ahead for music education. Ashgate.

Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate.

Omoniyi, T. (2023). Afrobeats and global identity: Nigerian pop culture in the 21st century. Popular Music and Society, 46(3), 310–329. https://doi.org/10.1080/03007766.2023.2193345