Zenzile Miriam Makeba (4 March 1932 – 9 November 2008), nicknamed “Mama Africa”, was a South African singer, songwriter, actress, and apartheid activist.
In her late teens, Makeba began singing with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City.
In 1960, she moved to the United States where she released several albums and songs, her most popular being “Pata Pata” (1967). Along with Harry Belafonte, she received a Grammy Award for Best Folk Recording for their 1965 album An Evening with Belafonte/Makeba.
Miriam used her global fame to bring international attention to the brutal realities of apartheid. She spoke out at the United Nations in 1963 and again in 1976, condemning the South African apartheid government. As a result of anti-apartheid activism, Makeba was exiled from South Africa for over 30 years.
In 1968, she married Stokely Carmichael, a leader of the Black Panther Party, and consequently lost support among white Americans. The US government revoked her visa while she was traveling abroad, forcing her and Carmichael to relocate to Guinea. She continued to perform, mostly in African countries, including at several independence celebrations.
Makeba used her voice to raise awareness against apartheid and gain solidarity with international audiences and other artists. Her music blended African sounds with political messages. Songs like:
- “Soweto Blues” (written by Hugh Masekela) mourned the 1976 Soweto Uprising and became a symbol of youth resistance.
- “Qongqothwane” (The Click Song) highlighted African heritage and pride — at a time when apartheid tried to suppress Black identity.
Although she didn’t always sing direct slogans, her music affirmed Black culture and dignity, which was revolutionary under apartheid’s racist system.
Miriam Makeba’s music was not just entertainment — it was a weapon against colonialism.
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