Dawit Yifru, a towering figure in Ethiopian music, has composed and arranged hundreds of songs over a career spanning decades. Revered for his skilful orchestration and poetic lyricism, he has helped shape the modern Ethiopian sound. As a founding member of seminal bands like Roha and Dahlak, Dawit has also nurtured generations of Ethiopian musicians, many of whom have gone on to become household names.
Yet despite his impressive legacy—over 200 album credits and a lifetime devoted to music—Dawit speaks with quiet frustration about a reality that remains unchanged: Ethiopian music, he says, continues to exist largely in isolation from the global stage.
According to him, this is not about a lack of talent. It is about lack of access. “There are so few avenues for our music to be heard beyond Ethiopia,” he said.
Now serving as president of the Ethiopian Musicians Association, Dawit has a vantage point on both the historical and current challenges facing the industry. He says Ethiopia’s music has traditionally reached foreign ears through two narrow channels: state-sponsored cultural diplomacy programs, which selectively send musicians abroad, and diaspora-organized concerts during major holidays such as New Year, Christmas, and Easter.
These efforts, while they are appreciated, but remain too limited in scope. “Musicians are not getting the financial support, stage access, or international opportunities they need to thrive. Only a handful of them manage to perform overseas, and that’s often through their own hustle.”
While Ethiopians enthusiastically consume foreign music—particularly Pop, Reggae, and Afrobeats from across the continent—Ethiopian artists rarely enjoy reciprocal exposure in Africa. Their reach is slightly better in Europe and North America, thanks to large diaspora communities, but even there, performances are sporadic and largely community-driven. Cross-border artistic exchange remains elusive.
Dawit believes cultural exchange could unlock new creative possibilities. “Our music could harmonize beautifully with other African genres,” he said. “But the space for those connections hasn’t been created. And unfortunately, opportunities for Ethiopian musicians are shrinking—both at home and abroad.”
There is, however, a glimmer of hope.
The European Union has announced a new initiative to promote African-European cultural exchange, allocating EUR 30 million to support artists across the two continents. The program—funded by the EU’s NDICI–Global Europe instrument—is being implemented in collaboration with Germany’s Goethe-Institut, Expertise France, and the Institut français.
“The programme is designed to promote both intra-African and Africa-Europe artistic exchange,” said Philina Wittke, the Goethe-Institute’s Coordinator for Sub-Saharan Africa. “That means artists from Ethiopia can apply for grants.”
Calls for applications will be announced through the partner organizations’ websites and social media channels, Wittke said, emphasizing the EU’s commitment to reaching a wide pool of talent.
A Cultural Bridge Built on Equal Terms
Known as the Sub-Saharan Component, the European Union’s ambitious cultural initiative marks a significant departure from past models of international cooperation. It is part of the larger Africa-Europe Partnership for Culture, with a dedicated eight million Euros budget for Sub-Saharan Africa over a 42-month period.
At the heart of the initiative lies a radical reimagining of how intercultural exchange is structured. Rather than treating African artists as guests in a European-led project, the programme puts African voices and leadership at the center. Its mission is clear: to establish equitable, co-created, and sustainable partnerships—rooted in African perspectives, led by African stakeholders.
“We are establishing partnerships where African cultural stakeholders lead their own internationalization strategies, while European partners contribute as equals in a genuine dialogue of mutual learning and respect,” Wittke said.
Spanning multiple countries in both Africa and Europe, the initiative supports a wide range of artists and cultural professionals, while seeking to expand the reach and visibility of African creative work. One of its key aims is to improve artist mobility, fostering both regional and intercontinental exchanges that lead to sustainable professional networks. It also focuses on developing cultural spaces—institutions and platforms that serve as hubs for artistic creation, public engagement, and critical dialogue.
In addition, the programme supports performing arts collaboration by funding joint projects between African and European creatives, facilitating professional meetings, and organizing international tours for African productions. In the realm of visual arts, it encourages co-creation and global visibility through curated exhibitions, critical discourse, and media documentation that spotlight African talent.
What distinguishes this initiative is its methodology. There are no linguistic hierarchies; programming is delivered in English, French, Portuguese, and local African languages, creating an inclusive environment that reflects the continent’s diversity. Equally central is a strong gender focus—at least half of all participants across activities are expected to be women, ensuring broader representation and equity.
Under the banner Connect and Create, the initiative also addresses the often-overlooked economic dimension of the arts. It seeks to boost market access for African creatives, grow cultural commerce across the continent, and strengthen the infrastructure of the creative economy. Capacity-building workshops in cultural management and digital marketing are also planned, aimed at professionalizing the sector and enabling artists to navigate global markets.
Crucially, the programme is designed not just for visibility, but for sustainability. It encourages co-production models that safeguard cultural authenticity while aligning with international standards—ensuring African artists are not merely seen, but understood and valued on their own terms.
The Sub-Saharan Component is one of three regional arms under the EU’s cultural framework, with parallel programmes in West and Southern Africa. Together, they form a continent-wide strategy that respects regional diversity while enabling shared goals.
For artists like Dawit and many others, this initiative represents more than an opportunity—it signals a long-overdue shift. But the question remains: will this be enough to change the rhythm?
