However, this new wave of violence sweeping across the continent, represents new threats to peace, development and nationhood in Africa. African states unleashing violence against citizens, which had set back development, unleashed civil wars and caused the break-up of countries. Since the end of colonialism after the Second World War, the focus has generally been on. Such violence ranges from religious ones, whether Islam or Christian, to political militia and communal violence.
Violent extremism by non-state actors, whether lone individuals, organised groups or spontaneous communal violence, across the African continent have exploded to alarmingly new levels. This study carefully scrutinized Agawu’s authorial philosophy as contained in his book, Representing African Music, and concurs with the author that the socio-cultural and economic relevance of African popular music make its pedagogic pursuit a priority in our academic curricula. This misplacement of priority has been described by Professor Kofi Agawu as academic protocol and a long-standing fascination with ethnographies of old music. The paucity of reliable pedagogic publications in the field of African popular music can easily be attributed to the lackluster attitude of the continent’s competent scholars who would rather write about the traditional/primitive music of Africa and the art music of the West than the progressive and commercial popular music of the continent. Overall, the contemporary African popular music resulted from the political, social, and economic environment of the late 18th to early 19th centuries, and is consolidated by the dramatic transformations brought about by urbanization in the period after World War II. Globally, studies in popular arts (including music) have been an integral part of the educational mainstay of the West, the Eastern bloc, the Asiatic, and even the Northern African.