Violin performance by Basil Oloo/ Christabel AdhiamboIn Nairobi’s informal settlement of Korogocho, the sound of classical music floats above the noise of daily struggle.
At the centre of it all is Elizabeth Njoroge, founder and executive director of the Art of Music Foundation, which runs the transformative Ghetto Classics (GC) programme founded in 2008.
GC began with a small initiative in Korogocho and has since expanded. Currently, the program teaches classical, jazz music, and dance, to more than 1,500 children and youth.
Rogyner Ochieng’s journey with GC began in 2014, sparked by a school talent show where he saw instruments like horns and strings for the first time. He claims he had never seen them and was immediately drawn in.
With music already running in his blood, his grandfather was a reggae artist; hence, joining GC felt like a natural path for him.
Since then, he has taken the stage with the Nairobi Philharmonic Orchestra, the National Youth Orchestra and the BC Jazz Festival, formerly known as the Safaricom Jazz Orchestra.
OPEN DOORS
“The programme has opened doors he never imagined. I have performed across Kenya and internationally, playing for dignitaries including the president, the first lady, and even former U.S. president Barack Obama,” he exclaimed.
These experiences, he says, are some of his proudest achievements. “It is not just about playing; it is about growth, exposure, and representing where we come from.”
But his journey hasn’t been easy. Life in Korogocho means facing daily challenges like poverty, insecurity, and the constant pressure to provide. “It’s hard to balance music and survival,” he admitted.
“GC helped me in covering school fees back then. For now, they come in and help to pay rent. I am able to train new members and be paid, and finally, I can earn from other general events where I am hired to play using skills from GC.”
Still, he says, the real value is in the discipline and purpose music gives. “Out here, it is easy to get lost. But music, it keeps us grounded.”
Basil Oloo, GC member, grew up on the Dandora side of the dumpsite and joined the program eight years ago while in class five.
His introduction came through Simon Kariuki, then manager, who visited Clear Kids School in Dandora Phase 5, randomly selecting children interested in singing. Basil was among the few chosen.
“At first, I wasn’t even interested in music,” he admitted. “the more time I spent there, interest grew.”
While three of the five selected students gave up early on, often due to the difficult walks across the dumpsite when fare wasn’t available, Basil remained, motivated by his struggles.
GC began supporting him by covering transport and even school payments through money earned from any event he performed.
As he spent more time at the centre and met international musicians, Basil’s interest in music deepened.
He chose the violin and has now played it for seven years. Through Ghetto Classics, he performed with orchestras and traveled widely within Kenya.
“This violin really changed my life,” he said. His dedication led him to attend a top private secondary school in Kajiado, surrounded by peers from wealthier backgrounds. An experience, he says, it was transformational. He graduated with a B+ and is now waiting to join university.
For Sophia Nyambura, 23, her first encounter with GC was in 2015 through introductory music classes offered at nearby schools in Korogocho.
At the time, she was in class four and part of the first group to learn the recorder through the program in the area.
Two years later, in 2017, she officially joined GC, not just out of interest in music, but as a way to cope with deep personal struggles at home.
After her parents separated in 2016, following a serious altercation that left her brother hospitalised, Sophia found herself emotionally isolated.
“I was so close with both my parents,” she recalled. “When they separated, I had to figure out how to connect with both of them at a different level, and it wasn’t working. GC became my escape.”
The benefits extend beyond music. Sophia notes that the program often distributes food supplies, easing the burden of food insecurity for many families in the area.
“If you didn’t have anything for the night, at least you would get something,” she said.
“On the other hand, challenges persist, especially around safety. Insecurity in the area sometimes forces rehearsal cancellations, with alerts sent out to ensure we avoid dangerous situations.”
Since then, GC has offered Sophia not only solace, but vital support. In 2018, during an end-of-year concert, she was connected with a sponsor who has supported her ever since.
Despite resource limitations like a shortage of instruments due to a growing number of participants she describes sharing as an essential part of the GC experience.
THE GHETTO CLASSICS PROGRAMME
Individuals enrolled in the programme receive more than just music lessons. The foundation provides meals, mentorship, education support, and access to social services.
Older participants transition into teaching roles, creating a self-sustaining model. Many of the current tutors are former students, now earning an income through music.
Their greatest achievement was meeting Bob Collymore, former CEO of Safaricom.
Through the Safaricom International Jazz Festival, he introduced global artists to the program. Jazz greats like Marcus Miller, Gerald Albright, Rick Braun, and Kirk Whalum were brought to Korogocho to meet and perform with the children.
“Bob made sure we saw the real Nairobi, not just the shiny parts,” said Whalum, a saxophonist. “The kids here are rich in spirit and talent. Being with them changed me.”
Whalum has since returned multiple times, even recording a song with the group. He continues to mentor saxophonist Elvis Otieno, offering weekly virtual lessons and supplying instruments and reeds.
Despite a canceled concert that he was to have in Uganda, Whalum made the trip to Nairobi to visit the students again.
“We already had the ticket. So, we said, let’s still go and hang out with the kids,” he shared.
GC has produced numerous success stories. Some alumni are now studying music abroad in the U.S., UK, and Poland.
Others have pursued different careers, including medicine and carpentry, but credit the program with keeping them grounded.
Challenges remain. The community battles poverty, crime, gender-based violence, and food insecurity. “Sometimes it’s as basic as hunger or shelter,” said Njoroge.
“But we stand with them.”
The programme runs entirely on donations. Partners like Farm to Feed provide weekly food supplies. Artists like Whalum contribute instruments, lessons and support. But more is always needed.
“For 17 years, we have depended on goodwill,” says Njoroge. “And we are always asking people to help where they can because these children deserve a fighting chance.”
“We believe music changes lives,” Njoroge concluded. “Not just because it is beautiful, but because of what it teaches discipline, focus, teamwork, and the sense of belonging.”
