Music festivals in South Africa have seen a resurgence in the last few years. Between 2025 and 2026 alone, major international acts like Gunna, Summer Walker, Sabrina Claudio, and a plethora of others have graced stages throughout the country. Interestingly enough, these artists tend to be the headliners of the respective festivals they perform at, and a large number of the invited South African artists are given the smaller stages at these events. However, this was not the case on 28 February. On opposite ends of the country, two festivals took place. The Sankofa Heritage Festival in Johannesburg’s Carnival City and the Quigney Culture Festival in KuGompo City’s (aka East London) Quigney neighborhood. Both festivals served as benefactors and uplifters of African art with homegrown talent on display on all stages – something that has been missing in the mainstream festival landscape in the country.
The Sankofa Heritage Festival was organised by Afro-Pop veteran Thandiswa Mazwai. It was the first of what promises to be an annual celebration of African cultures and the art forms born out of them. It was headlined by Mazwai herself alongside Msaki and Grammy nominated Ugandan/Rwandan artist Somi. Another novelty was the Opening Act Competition that was held in preparation for the event. The competition highlighted emerging South African artists who work with indigenous musical forms. The winner, Vuyo Viwe, was picked from 250 applicants and performed as the festival’s opener. As opposed to other mainstream festivals, Sankofa Heritage Festival had a very pan-African vision – the promotion of unity, solidarity, and shared identity throughout the African continent. The diverse nature of Africa was on full display, and the turnout for the event reflected South Africa’s desire for a more African-centred lens to events in the country.
On the other side of the country, the inaugural Quigney Culture Festival took place in KuGompo City. The festival boasted headliners like Bongeziwe Mabandla, Internet Athi, and the SA jazz ensemble Kwanti Leeh! The festival was a celebration of the local restaurant, House 87’s, four-year anniversary. Furthermore, according to organiser Thando Thomas, the event was meant to take all that happens inside the restaurant (music, art, and food) out into the street and facilitate growth in the community that houses the establishment, creating a symbiotic relationship. The festival resulted in the creation of over 100 jobs, the showcasing of over 20 small businesses, as well as a variety of other economic boosts born from intra-country tourism.
The Quigney Culture Festival in particular showed the benefits that such events can bring for local communities. The organisers collaborated with the Buffalo City Municipality, the Department of Sports, Arts & Culture, and youth volunteers in order to bring the event to life and stage clean-up efforts throughout the neighbourhood. The Quigney community was also heavily involved and eager to lend a helping hand, further proving how South Africans yearn for such efforts, but are just waiting for mobilisation and support in order to make it happen. The event beautifully went against the negative connotations about South Africa and the Eastern Cape in particular. Thomas remarked that “the Eastern Cape is not a lost cause because its people aren’t”.
Both festivals served as proof that African art alone can be used to create events that pour back into their respective communities. They may have happened on opposite ends of the country, but the result is the same: South Africans long for events that are a representation of themselves. This is evident in the success of these festivals, which were both the first of their kind. These events are proof that art can be used as a tool for community upliftment and unification, and the way we allow for this is by showcasing and celebrating homegrown talent.
