Collins notes that contrary to the current climate, the first generation of great African leaders such as Nyere of Tanzania, Sekou Touré of Guinea, Keita of Mali and Nkrumah of Ghana fully appreciated the critical role which music and entertainment played in the struggle for independence. Nkrumah in particular patronized musicians for the composition of his campaign songs and later ensured that African music and dance were taught at all levels of education in the country. An influx of foreign enthusiasts of African popular music in the 1980s encouraged the government to initiate the festival PANAFEST. Ghanaian universities expanded their syllabi in the 1980s to cover popular music as well, training students in both technical and business aspects of the music industry. Collins notes that popular music in Ghana remains a vital vehicle for socio-political commentary, the codification of culture, youth identity formation and more.
Further details: http://www.tagg.org/xpdfs/CollinsJ-IASPM111219.pdf