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A compassionate man with a vision: Robert Mawuena Kwami (1954–2004)

Robert Mawuena Kwami‘s accomplishments and his vision for the future embraced many areas. He worked tirelessly toward his objectives with such energy, engagement and enthusiasm that one could not help but be swept along in his tide. He was in his element doing exactly what he wanted to do: Professor of Music, University of Pretoria, South Africa; Visiting Fellow, University of London Institute of Education; Director of the Centre for Intercultural Music Arts (Cima), London. He was the recipient of multiple degrees: BA (with honours) in Music and PGCE from Reading University; MA in Music Education with distinction; PhD, University of London Institute of Education; MBA in Business Administration, Open University at Milton Keynes, England; and a Licentiate in vocal training, Royal Academy of Music (LRAM). He also served as Director of Technology of the Pan African Society for Music Education (Pasmae) and was a member of the Editorial Board for the Journal of the Musical Arts in Africa. I was privileged to work with Robert in conjunction with the London-based Centre for Intercultural Music Arts (Cima) at the Institute of Education, University of London, founded by Professor Akin Euba in 1988. I knew Kwami as its director, where he organised concerts and recitals in conjunction with symposia and workshops dealing with topics giving greater relevance to music educators and music education. Many of us worked closely with him as he took over the helm as principal editor of the Intercultural music book series in 2001 and the Intercultural Musicology Bulletin in 2002. His plan for the future of the Centre for Intercultural Music Arts (Cima) for the 21st century involved taking on a more aggressive role in advocating and providing effective implementation of intercultural music arts education in situations where the lack of resources, both physical and human, was problematic. He continually offered teachers recommendations on how to effectively implement intercultural music arts in their teaching. Under his editorship he set the tenor for the series by laying out a template for the future as explained in his introduction to Intercultural music, Volume 5, reading in part: