The Dhow Countries Music Academy (DCMA) is one of Tanzania’s most important cultural institutions, established with the mission of preserving and promoting the traditional music of Zanzibar and the broader Indian Ocean region.
Founded in 2002, the academy has focused on providing both formal and informal training in indigenous music genres such as taarab, kidumbak, and traditional dances art forms that, for a long time, were at risk of disappearing due to a lack of generational continuity.
Before DCMA’s establishment, there was a significant shortage of institutions offering education in traditional music, resulting in a decline of composers and indigenous musicians, particularly among the youth.
DCMA filled this gap by providing opportunities for young people from Zanzibar and other coastal areas to learn and celebrate their musical heritage.
The academy has offered both short- and long-term courses in traditional music, collaborating with instructors from within Tanzania and abroad.
Through these programs, students acquire skills in music theory, playing traditional instruments, singing, and composing indigenous songs.
Over more than two decades since its founding, DCMA has nurtured numerous artists who have played key roles in protecting and promoting Zanzibar’s musical identity internationally.
Some of its musicians have performed at festivals both locally and abroad, establishing Zanzibar as a hub of unique Indian Ocean music culture.
However, despite these successes, DCMA has faced several challenges, including limited resources, inadequate teaching materials, and financial difficulties that have occasionally threatened its sustainability.
Nonetheless, the institution has remained resilient thanks to the efforts of stakeholders, dedicated teachers, and students passionate about Zanzibar’s culture.
Overall, DCMA continues to serve as a pillar in Zanzibar’s arts and cultural sector, contributing not only to the preservation of traditional music but also to cultural tourism and international performances that generate income.
In this article, I aim to reflect briefly on the academy and the evolution of taarab music in Tanzania.
Taarab music has deep roots in coastal regions, thriving both before and after Tanganyika’s independence and even after the union with Zanzibar. Its popularity was fueled by a large number of skilled singers and instrumentalists.
While it’s impossible to mention them all, notable figures include Sitti binti Saad, Fatma binti Baraka, and Mohammed Ilyas, famously known as Professa.
Names like these are rarely mentioned today when discussing taarab music, and since many of the pioneers have passed on, few new talents have emerged to continue the tradition as it once was.
Although times have changed and the entertainment industry has evolved, new-generation artists have emerged and are performing remarkably well, even compared to the past.
Veteran groups continue to perform, though less frequently, yet their concerts still attract large audiences who support and celebrate traditional music.
This raises an important question for Tanzanians: Where has taarab music gone?
While the answer is complex, one truth remains: every generation has its roots. As one renowned philosopher said, “He who forgets where he came from is lost, and he who does not know where he is going has no direction.”
Tanzanians may have forgotten some of our origins, and I am unsure if we all know where we are heading.
I do not intend to criticize contemporary music styles; rather, I wish to remind Tanzanians of our duty to preserve and honor the musical heritage passed down by our elders.
In recent years, there has been a significant shortage of cultural centers providing training in preserving and developing our inherited traditions.
In Zanzibar, despite the commendable efforts of past governments, I also take this opportunity to praise the current administration under the Chairman of the Revolutionary Council and President of Zanzibar, Dr. Hussein Ali Mwinyi, for initiatives to revive cultural centers and protect Tanzanian heritage.
Among these efforts, improving DCMA through various strategic initiatives stands out as a major achievement, particularly in safeguarding the traditions, customs, and cultural practices of Tanzanians.
Although DCMA continues to strive for national recognition through entertainment events it organizes, much work remains for Tanzanians, in partnership with private stakeholders and organizations, to expand the cultural and entertainment sector while honoring the foundations laid by our founders.
I also commend DCMA’s ongoing efforts to revive Tanzanian traditions and customs through its frequent events.
Under the leadership of Director Hilda Mohammed Alkanaan, the academy has inspired a renewed appreciation for Tanzanian culture and arts.
I urge all Tanzanians to join forces in preserving our traditions and cultural heritage, as they form a vital part of our national identity and international respect.