Moments in Frames
Cape Town
The Mother City
Lesotho
Welcome to the village
Johannesburg
The city of gold—the city without sleep
The countryside
Where nothing ever happens
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BY RMN
4 FEBRUARY 2026
“I want to be remembered as the girl next door who changed lives,” Zahara once said. And in that simple sentence lives the truth of her legacy. She was not assembled, not distant, not unreachable. She was a girl from the Eastern Cape who picked up a guitar and began to write songs, trusting only her voice, her stories, and her spirit. It was only a matter of time before the world was blessed with her gift.
Zahara serenaded Africa. She sang and sang, giving herself completely. In a traditional society where women do not always pick up guitars, where their voices are often softened, redirected, or silenced, she insisted on her sound. As a child, she did not even have a proper instrument. She made her own guitar from a tin and began busking, performing in public with a strange-looking creation that could not hide the undeniable power of her voice. The guitar may have been unusual, but the voice was unmistakable: rich, deep, and full of truth.
That voice did not begin in adulthood. As a child, Zahara was often mistaken for a boy because of its depth and strength. Instead of shrinking herself to fit expectations, she grew into it. She allowed her voice to remain exactly as it was—African, grounded, resonant. In doing so, she redefined what femininity in African music could sound like. Zahara did not ask permission to exist; she simply did.
In 2011, she released her debut album Loliwe, a word that translates to “train.” The name was not chosen for poetry alone, but for memory and meaning. Zahara was inspired by her mother’s stories of men who would leave for Gauteng in search of work and never return. When trains arrived back home, families would gather, holding onto hope that their loved ones would step off at last. Often, they did not, but the hope remained. Loliwe is an album about waiting, about longing, about belief that does not die even in disappointment. It is an album of hope and quiet resilience.
Zahara became the voice of African music not because she was loud, but because she was a spirit in flesh. A heavenly gift. Her songs carried pain without bitterness, faith without naivety, and the purest form of “It is not over”. She taught Africa how to dream and how to wait for destiny. Her life reminded us not to rush, not to look for shortcuts, not to steal what is not meant for us. Destiny, she showed us, waits patiently, and when it is yours, it cannot be stolen.
You know you have been touched by grace when you are invited to sing for Nelson Mandela in his own bedroom, and he looks at you and tells you that you are special. That was Zahara. In that intimate moment, history recognised her long before the world fully did. She did not just sing to icons; she moved them. Her voice carried humility, truth, and the quiet power of someone who understood that music is service. To be affirmed by Madiba was not coincidence, it was confirmation that Zahara’s gift was bigger than fame. It was purpose.
A girl with a guitar and afro hair stood before the world and sang Africa back to itself. Zahara’s legacy lives on in every African woman who dares to pick up an instrument, speak in her natural voice, and believe that her story is bold and enough.
Brenda Fassie left the misery of Langa behind, but she carried the spirit of the township with her for the rest of her life. She did not escape her roots, she amplified them. The world came to know her as the Madonna of the Townships, a title earned not through imitation, but through superstardom so vast it could only be compared to international icons like Michael Jackson, Whitney Houston, and Madonna herself. Brenda Fassie was Africa’s own global phenomenon.
She had it all: a powerful voice, irresistible charisma, fearless dance moves, and a stage presence that commanded attention the moment she appeared. When Brenda performed, she did not ask to be seen, she insisted. Through her music, she captured South Africa, Africa, and audiences beyond the continent, making township sound not only visible, but desirable. She made African urban life cool at a time when it was often dismissed, hidden, or shamed.
Brenda Fassie was more than a musician; she was a cultural force. Her bold fashion choices, extravagant style, and unapologetic personality made her an icon long before the word was casually used. She was loud, sensual, emotional, rebellious, and deeply human. She refused to dilute herself for conventionality. In a conservative society, especially for black women, Brenda lived freely, loved loudly, and danced without apology. She was undeniable.
Yet beneath the glamour was a woman deeply aware of her environment. Brenda Fassie did not sing only to make people dance; she sang because she cared. Her music was socially and politically conscious, reflecting the realities of apartheid, poverty, and urban survival. She participated in conversations that were dangerous, brave, and necessary. Conversations that could have cost her freedom, her safety, or her career. She understood that art is not neutral. It takes sides.
Songs like Vulindlela became more than hits—they became cultural rituals. Vulindlela is the African wedding anthem; no wedding is complete without it. Across generations and countries, Africans rise to that song as if responding to a collective memory. Brenda sold millions of records, but her true achievement was cultural immortality. There is no African female singer who has matched her level of superstardom in terms of cultural influence and recognition.
What Brenda Fassie gave Africa was visibility. She made people who looked like her—people who grew up in townships, who lived in crowded streets and struggled daily, feel seen, celebrated, and powerful. She was for the economically written-off, the forgotten, the dismissed. She proved that greatness could come from places the world refused to look at.
Brenda Fassie did not just make Africa dance. She made Africa believe that its sound, its people, and its stories were worthy of the biggest stages. Her legacy lives in every beat that moves a body, every woman who refuses to shrink, and every township child who dares to dream loudly. She is the first African female superstar.
Icons are inspired by icons. Long before Angélique Kidjo stood on global stages collecting Grammy Awards and commanding the world’s attention, she was listening closely to the great Miriam Makeba. From that lineage of courage and cultural pride, Angélique emerged not as a whisper, but as a force. She became the sound of Africanism, a tireless advocate for African culture, arts, and development, and one of the continent’s most powerful global ambassadors.
Angélique Kidjo loves Africa loudly and without apology. She has consistently reminded the world that Africa is not sleeping. It is awake, alert, and ready to show itself without explanation or translation. Through her music and her voice, she has insisted that African stories do not need permission to exist on global platforms. Long before younger artists like Burna Boy carried Afrobeats to new commercial heights, Angélique had already laid the foundation: Africa, unapologetically African, on the world stage. She paved the road to global stages, a path the new wave of African artists now walk with confidence.
What sets Angélique apart is her commitment to African sound in its purest and most innovative forms. She brought African languages, rhythms, and traditional Beninese sounds into contemporary music without dilution. She refused to flatten her identity for global palatability. Instead, she invited the world into Africa on Africa’s terms, not the other way round. Her music is rooted in tradition but never trapped by it, blending ancestral rhythms with jazz, funk, pop, and soul in ways that feel timeless.
At the heart of Angélique Kidjo’s music is humanity. Her songs carry hope, resilience, and compassion. Listening to her voice feels like being wrapped in a velvet blanket on a cold, dark night—protective, warming, and deeply reassuring. Her music does not shout; it uplifts. It does not overwhelm; it heals. In moments of uncertainty, her voice reminds us that survival itself is an act of resistance and joy.
Remarkably, Angélique has remained relevant across generations. Her impact did not end with vinyl records or traditional radio. Her music lives on digital platforms, streaming services, and in the playlists of younger audiences who may not have been born when her career began. She has seamlessly crossed into modern culture without losing her essence, proving that authenticity is timeless. Her influence continues to move forward, carrying her sound into future generations yet to come.
Her cultural impact has earned her more than awards; it has earned her love, respect, and recognition across continents. Angélique Kidjo is not simply celebrated; she is trusted. She is believed. Songs like Agolo that reference neglect made us sing louder, dance harder, and feel prouder of who we are, despite the circumstances in our environment. She simply said, do not let anything stop you from living.
Angélique Kidjo is African music’s living legend because she did more than represent Africa—she defended it, celebrated it, and carried it with dignity into the world. Through her voice, Africa speaks, breathes, and rises again and again.
Mama Africa—the woman who started it all. Before global stages welcomed African women, before African sound was fashionable, before Africa was allowed to speak for itself, there was Miriam Makeba. Angélique Kidjo, Brenda Fassie, and Zahara are all daughters of her womb—not by blood, but by legacy. She is the root from which African feminine power in music grew.
Miriam Makeba stands at the forefront of global feminine representation because she understood her power at a time designed to strip it away. In an era of apartheid, exile, and silencing, she chose visibility. She chose voice. She chose courage. Feminine power is often revealed in what a woman is told not to do, not to say, not to challenge. Makeba did all of it. She spoke when silence was safer. She sang when obedience was expected.
She is not simply remembered for Pata Pata, though that song carried African joy into global consciousness. To reduce Miriam Makeba to a hit song is to misunderstand her entirely. She was not an entertainer first—she was a freedom fighter with a melody. Her voice carried South Africa into rooms it was never meant to enter: the United Nations, global political platforms, and the hearts of people who had never set foot on African soil. Through her, the world learned not only how Africa danced, but how it suffered, resisted, and survived.
Miriam Makeba played a heroic role in the liberation of South Africa. She testified against apartheid, exposed its brutality, and humanised its victims at a time when Black South African lives were deliberately devalued. For this, she paid a heavy price. Her passport was revoked. She was forced into exile. She was cut off from home, family, and familiarity. Yet exile did not silence her, it amplified her. She carried South Africa on her back and sang it into global consciousness.
Determination and vision made her Miriam Makeba. She did not retreat when punished. She did not soften her message to regain comfort. She understood that voice is responsibility. Even when stripped of nationality, she remained deeply African. Even when barred from home, she remained rooted. She used her voice until her last breath, collapsing on stage after performing at a concert for justice. An ending that is physically and emotionally painful, but poetic and powerful as her life. She did not allow difficulty to lead her. A born leader.
Miriam Makeba is the definition of feminine strength. Not loud domination without results, but unwavering conviction and intentional purpose. She showed African women that their voices were not ornaments, but powerful instruments of change.
She is the first. She is the mother of Africa. She is the blueprint. Without Miriam Makeba, there is no global African female voice as we know it today. Her legacy is not only in music, but in freedom itself. Her legacy is authority, blossomed in unapologetic African womanhood.