Music has transcended borders and languages: why haven’t the Grammys?
For decades, the Grammys have dominated the music industry as the pinnacle of an artist’s career, regardless of genre. For an artist to win a Grammy is to have achieved a highly sought-after goal. However, year after year, loss after loss, we find ourselves asking the same question: “Who gets recognised as mainstream music, and who gets boxed into a separate (segregated) category?”
This conversation resurfaced after the popular South Korean boy band BTS denounced the Grammys in a collective statement posted on Instagram, saying they will not submit their comeback album Arirang for the 2027 awards ceremony. The news came just a month after the Recording Academy introduced a new category to the show, ‘best Asian pop music performance.’ While the academy believe this category is meant to spotlight Asian songs, BTS says otherwise.
“I hope that music can be heard and loved for what it is, rather than being divided by region or language.” – A translation of the message they shared via Instagram.
Yet, this debate is not limited to one group choosing to withdraw from one of the most successful awards ceremonies in the music industry. It requires us to dig deeper into what real inclusion should look like.
This is not new.
For years, the Grammys have faced backlash from both artists and audiences alike for failing to acknowledge the rising global shift in the music industry. Artists from all over the world, regardless of country, genre, and language dominate the charts and influence musical trends online. Their sold-out concerts continue to reshape how we view and appreciate music. Yet, despite these successful statistics, award ceremonies – especially one we deem the industry’s most respected, continue to classify (read: segregate) artists according to language and race. Why not recognise the best work to come out?
For decades, black artists have been questioning why music that has shaped pop culture, that is rooted in Black culture, is often only recognised in genre-specific categories. This is a direct challenge to why the biggest awards of the night are awarded to more ‘traditional’ options. Latin artists share similar frustrations. Why must they have an entire separate awards ceremony? Artists of colour have to work 10 times harder than their Western counterparts yet still do not get rewarded in a more dignified manner.
“It sucks that whenever we, and I mean guys that look like me, do anything that’s genre-bending, they always put it in a rap/urban category. I don’t like that ‘urban’ word; it’s just a politically correct way to say the N-word to me. So, when I hear that, I’m just like, why can’t we just be in pop?” – Tyler, the Creator said after his album ‘IGOR’ won Best Rap Album in 2020.
We have our very own example of this phenomenon at home. Tyla, our South African superstar, whose global hit, Water, dominated charts, social media, and sparked worldwide debates. Regardless of this breakout success, her recognition began to be framed according to an ‘African’ lens, rather than being allowed to simply compete against mainstream pop artists. Another example of this is Tyla’s music being categorised as Afrobeats even though she has stated that this is not the case. “I know there’s a tendency to group all African artists under afrobeats. It’s a thing, and even though Afrobeats has run things and has opened so many doors for us, African music is so diverse.” Said Tyla during her acceptance speech at the 2024 MTV Video Music Awards. Even though this is just the beginning of her career, her rise to fame reflects an industry that has seemingly become inclusive on the surface, while still clinging to barriers that limit artists of colour.
Does representation matter? Yes. The cost it comes at matters, too.
Categories dedicated to genres and cultures that have a history of being overlooked will always be a positive thing. This exposure is deserved and long overdue for many artists. Yet, this inclusion should not be a box. The Recording Academy may have created a bigger table, it has also placed name cards that quietly remind artists where they are supposed to sit.
The idea of this still being a topic of discussion is ironic, given the fact that music has never been more global and diverse. Amapiano blasts from club speakers all over Europe. Latin artists headline major events in North America, such as the Superbowl. K-Pop has dominated streaming platforms and created one of the largest fanbases worldwide. Rising Slovakian artist ADÉLA, emphasises this in her song currently going viral on TikTok, ‘Ain’t in LA,’ with lyrics stating, “It’s all a lie, the baddest bitches ain’t in LA.’
We no longer identify good music by language or genre, but simply whether we connect with it or not.
The Grammys, on the other hand, darken these invisible lines. In an industry without borders, why do they continue to draw them?
FEATURED IMAGE: Graphic of artists of colour who have been nominated for and/or won a Grammy. Graphic: Kerese Govender
There is something distinctly inherited about misogyny.
It lingers and creeps in your veins as if it were a dormant disease. It flows through your blood and poisons the mind. It is almost buried beneath and before you know it, you find yourself looking sideways at the girl you deem promiscuous because she is not docile. You will not realise it is there, even when you pray for a baby boy because they are ‘so much easier to raise’ than girls. Without knowing it you uphold patriarchy in small ways.
This topic is a dead horse that will never stop getting beat. It is constantly on my mind. How can it not be when we live in a world where an abuser can sell out stadiums globally. A world where violence and injustices against women are constantly ignored. Men claim to care but prove daily that they do not. In my opinion, men rarely consider your feelings the same way a women would.
This is evident in the support problematic male celebrities continue to garner. These men are defended and uplifted irrespective of how irredeemable their actions are.
A comment under a TikTok about the recent arrest of Chris Brown.
A comment under a TikTok about Connor McGregor’s court case.
Society expects women to sit idly by, with no bark or bite, because we should be pleased to have a seat at the table. We still have to hope that asking, “What if that was your mother or daughter?” is enough for a man to be empathetic. A woman should not be reduced to her role in a man’s life for her pain to be empathised with.
It does not matter what type of woman you are or aspire to be, nine times out of ten, there is a word out there to demean you. My favourite out of the bunch lately is ‘bird,’ used to refer to a woman who is being wistfully naïve when it comes to seeking male validation. Have you not found the courage to leave your abusive boyfriend yet? Bird. Do you forgive cheating? Bird. Do you complain about your manipulative boyfriend but stay with him? Bird. People on the internet say, “too many birds on the ground and not enough in the sky.”
The latest example are the women on Love Island 2026, namely Melanie Moreno and Aniya Harvey. The term has shifted from holding women accountable for enabling men to blaming women for being mistreated by men. People should be capable of calling out a woman’s wrongdoings without diminishing her entire character, especially without using terms that were created to police women and their actions.
Misogyny shows up in the jokes we find funny; in the memes we reshare; in the bullying we endorse and the two-cent comments we dismiss. It does not just spring up suddenly in unexpected violent outbursts.
It is when we dislike a woman for being too loud, or for taking up too much space, instead of staying in the tiny corner designated for her. We see this experience the most among famous women. From Taylor Swift to Megan Thee Stallion to Chappell Roan, all women hated for different reasons but with one noticeable similarity. In most cases, even if there are valid reasons to dislike these women, rarely are those the reasons why people do.
These ‘jokes’ test your morals and what you deem as okay to say and hear. They question how ignorant you are toward those you love when they make such takes.
Comments under a TikTok about Chappell Roan’s controversy.
Women who are complicit in men’s misogyny should not claim to care about our issues. If you associate yourself with this kind of man, you are complicit. You are the company that you keep. By associating yourself with this type of man, you are that man yourself.
This is the part of the article where I confirm I am not some all-men hating, bitter misandrist. If this is bitter, then bitter is what I will be. As it is, I do not believe we are bitter enough.
We talk about autism more than ever, but who actually gets help? In South Africa, the gap between awareness and access is leaving many behind.
Autism is more visible than ever, but many families still can’t access the support they need.
Overcrowded public schools and costly private options leave many learners with nowhere to go.
Real inclusion needs better funding, trained educators, and a system that supports autistic learners.
April marks Autism Awareness Month, a time dedicated to promoting understanding and inclusion for individuals with autism spectrum disorder (ASD). In South Africa, however, awareness has not translated into access. Despite growing public conversations around autism, many families still struggle to find affordable education and support. The gap between awareness and access is stark, particularly for working class households. A recent TimesLIVE report highlighted the harsh reality for families of children with disabilities. While some are forced to pay out of pocket for transport to distant schools, others are left with no schooling options at all. This reflects a broader systemic issue: there are simply not enough specialised institutions to meet the demand.
5 Things you should know about autism. Poster: Nqobile Mtshali
In Johannesburg and surrounding areas, there are fewer than 10 public schools with structured autism support, compared to a growing number of private specialised centres. This highlights a clear gap between public provision and demand. Many of these schools are oversubscribed, with waiting lists stretching for years. In contrast, despite offering more specialised autism-focused centres, the private sector remains largely inaccessible due to cost.
While the Department of Basic Education has promoted inclusive education as a solution, implementation has been slow and uneven. Mainstream schools are often under-resourced and lack the training to support neurodivergent learners. Autism advocate and National Regional Development Officer (RDO) at Autism South Africa Mary Moeketsi says the system continues to fall short. “There’s a push towards inclusive education,” she explains, “but without proper support, it doesn’t work for many autistic learners.”
The lack of access to government autism support institutions pushes families toward private institutions as a desperate solution, with fees reaching up to R15,000 per month, well beyond the reach of most South Africans. “Parents are left with very few options,” Moeketsi adds. “And even then, not all private schools provide the level of support needed.”
Beyond infrastructure, awareness itself remains uneven. Most notably in Black communities, stigma and misinformation continue to delay diagnosis and intervention. “There’s still a lot of misunderstanding around autism,” says Moeketsi. “That lack of awareness directly affects access to support.”
This is not to say solutions don’t exist as organisations like the National Autistic Society provide free resources, guidance, and advocacy tools to support individuals with autism and their families. Locally, NGOs and advocacy groups are also working to bridge the gap through community outreach and education. However, autism activists argue that meaningful change requires more than just awareness campaigns. Increased government investment, better teacher training, and expanded support services are critical to making inclusive education a reality.
Autism Awareness Month raises an important question: what does awareness mean if most South African families still cannot access basic support?
Until access improves, awareness alone risks becoming symbolic rather than transformative.
FEATURED IMAGE: Autism Awareness Month Poster: Nqobile Mtshali
Creative Nestlings hosted a panel discussion about the importance of building community by working towards a profitable creative industry for filmmakers and online creators.
Creative Nestlings has facilitated key discussions and communal events for creatives, empowering them to step into the industry with the tools and connections to make informed decisions
The event featured a notable panel including Founder of NW+TV, Muthoni Waigwa, who emphasized the importance of authenticity and ownership of African content
Muthoni Waigwa, producer-filmmaker and Founder of NW+TV Photo: Katlego Makhutle
NW+TV is an African-centric platform that aims to foster a community of creatives that can monetize and digitize their content in Africa
#ConversationsOnCreativity is an events campaign facilitated by Creative Nestlings. On Saturday, 26 July, the NPO – which specialises in educating and connecting African creatives across the continent, hosted a panel discussion as part of their initiative to empower young creatives. The panel discussion focused on how African filmmakers and content creators can master methods of distribution and monetisation.
The event was also inclusive of online content creators, writers, producers, and directors who sought to learn more about the critical need of building an equitable and African-rich storytelling industry. Dillion Phiri, founder of Creative Nestlings, highlighted that the business side of creative work, such as pitching and licensing, begins with doing research, being resourceful and building a strong community.
Through #ConversationsOnCreativity, Creative Nestlings has dedicated their platform to do that, by partnering with NW+TV, an African-centric online streaming platform catering to small and independent content creators, filmmakers and producers.
Muthoni Waigwa, Kenyan producer and host of the podcast Moments with Nderru, stated that monetization of films, documentaries, podcasts and series’ starts with research and expanding your network. Waigwa, a passionate media buyer, emphasized that “owning our narrative and telling our stories bravely” is a powerful tool for preserving our cultures and languages, whilst working towards moving away from a Western way of telling African stories.
“What our platform is seeking to do is to elevate African voices,” said Waigwa.”For far too long, the Western media or audiences have dictated what our story should sound like, look like, and be produced, and so our stories have been diluted and misunderstood along the way.”
The panel also discussed the need for visibility in changing the perceptions of creative work and the continued challenges of sustaining a reputable brand in an ever-changing digital age. Additionally, challenges in distributing content are largely due to a lack in resources and understanding of the research required to make informed decisions on content licensing and distribution.
Producer, writer and actress and Wits alumna, Kirsten Muhammed. Photo: Katlego Makhutle
According to a report examining the impact of Digital Communication Technologies on the Film industry in SA, the shift from traditional media distribution to digital media distribution has changed the arts and entertainment industry significantly. There is a growing preference amongst audiences for films and other audiovisual content to be available online. Content distributed as large digital files rather than physical media has helped creators and producers spend less money on transportation and storage costs of physical footage.
Another key theme in the panel discussion was the importance of being “versatile” by occupying different roles in small to large scale productions, as it often creates a streamline for more opportunities and exposure to crucial employment networks.
Writer, producer and actress, Kirsten Muhammed, told Wits Vuvuzela that it was hard trying to break into the industry, but once she gained an opportunity as a writer, it motivated her to persevere and get seen in a serious light in other different roles, including film production.
Muhammed is the co-host of SABC2’s Disney Cookabaout and graduated from Wits University with a Bachelor of Dramatic Arts in Performance and Directing in 2015. The Wits Alumna said that the industry is shifting towards a truer reflection of portraying everyday African experiences. Motivating students and aspiring creators, Muhammed says, “We’re all still learning as we go. Budgeting, scheduling, storytelling…just keep learning and it’ll happen.”
FEATURED IMAGE: From left to right- Director Dumisani Phakhathi, Director Karabo Lediga, Actress Kirsten Muhammed, NW+TV founder Muthoni Waigwa, and Creative Nestlings Founder Dillion Phiri. Photo: Katlego Makhutle
Wits highlights how digital platforms, through marketing, can be used as a tool to combat issues that society faces
The Wits Business School hosted Africa’s first social marketing Association Conference at the professional development hub on east campus, last week, from April 24 to 26.
The conference was held to promote the use of social marketing — an advertising approach which focuses on influencing people’s behavior with the primary goal of achieving a common good.
The aim of the conference was to highlight how this form of marketing can combat some of the serious health, social, and environmental issues Africa faces, especially South Africa.
The event brought together hundreds of academics, practitioners, and social policy makers from across the world to discuss the work they do; and how social marketing is practically solving real life issues.
Andy Du Plessis, managing director of Food Forward SA discussed how their non-profit company uses a system of virtual food banking to reduce hunger. This is a digital platform that links its beneficiary organisations to the closest participating retail store to collect perishable and non-perishable foods, which in turn is used to feed thousands of people daily.
The conference included discussions around corruption, which is an extremely prevalent issue in South Africa. Social justice activist Kavisha Pillay at Corruption Watch said besides working to provide a platform for reporting corruption, the organisation has also done campaigns that allow people to denounce wrongdoing.
One of those campaigns is the “My hands are clean” initiative which encouraged South Africans to post a photo of themselves online holding up one hand, which is a sign that they are taking a stance against corruption.
Pillay said they did this because, “confronting corruption begins with behavioural change.”
Head of the Wits Business School, Helen Duh told Wits Vuvuzela, that the conference created opportunities for social marketing scholars to learn “from practitioners and practitioners to learn from scholars”.
Duh then said that the school’s focus area of research was, “sustainability and well-being,” and that the conference allowed for scholars to, “reflect, debate, discuss, and recommend solutions to the various societal and environmental problems.”
She said she hopes the discussions will attract more workshops and seminars in these areas in the future.
Chair Head, Professor Debbie Ellis from the University of Kwa-Zulu Natal, Professor Gael O’Sullivan from Georgetown University, USA, and Leah Taub from Premise, USA preparing to engage in a discussion with scholars at the African Social Marketing Association Conference on April 25, 2023. Photo: Georgia Cartwright
FEATURED IMAGE: Leah Taub from Premise, USA giving a talk on Crowdsourcing and how it can be used to gather useful information at the Social Marketing Conference on April 25, 2023. Photo: Georgia Cartwright
A fantastic performance riddled with anecdotal but relatable scenes, tied together with beautiful music, making it a must watch for theatre lovers.
Wits University School of Arts lecturer, Fiona Ramsay and pianist Tony Bentel perform at the Iyabuya iPOPArt festival to showcase their talents and successful careers with over 35 years in the South African entertainment industry.
The talents of Ramsay and Bentel’s Old and the Beautiful, helped wrap up the festival as the final act on March 30 and 31, 2023, at the Red Roof Theatre in Milpark. The festival had a three month run from January 2023, with performances from a range of artists at various venues.
Wits School of Arts lecturer, Fiona Ramsay and pianist Tony Bentel smiling and posing for the camera on stage with a spotlight lighting up their faces before their Old and Beautiful performance at the AFDA Red Roof Theatre in Milpark during the Iyabuya Festival on March 31, 2023. Photo: Georgia Cartwright
The show opened with a spotlight centered on Ramsay surrounded by props of head statues bejeweled with fancy gems indicating wealth, with Bentel playing an upbeat tune. The pair then moved quickly into the next scene with jokes about how covid-19 gave people the ability to hide their identities because of the thousands of masks that were purchased, a joke received with loud, unmasked guffaws.
Ramsay and Bentel put on a show filled with humorous anecdotes related to the covid-19 pandemic, unemployment, loadshedding, gender inequality, and the unavoidable fact of getting old. The dynamic duo made reference to the well-known works of Marianne Faithfull and singing “Maybe this time” in their reenactment of the Broadway show Cabaret.
Each scene in the performance draws upon different issues people face in South Africa while adding a witty twist to create the ultimate form of escapism. The show begins with, “Who doesn’t want to be rich,” a song about struggles artists face when looking for work and the reality of unemployment in the arts industry. The stage props help set each scene with props of clown noses worn by Ramsay and Bentel to indicate that the real jokes are themselves for believing they could have successful careers in the arts but that their optimism, along with a little dope, helps them cope.
While the show deals with dull, often depressing topics, it also manages to make light of these issues through a satirical lens. When asked for their thoughts by Wits Vuvuzela, one audience member called it, “depressingly humorous”. Ramsay brings unique characters to life, such as Denise from an old age home in Welkom, who is staring “death” in the face while reliving her memories. The soundtrack to this is a mix of dramatic and calm classical music played by Bentel, which perfectly scores the emotional scenes as they unfold.
The stage is set with props and rugs from Bentel’s lounge, the stage of the pair’s first performance together eight years ago. Ramsay describes their act as a “satirical look on the madness of life,” and says that “if you don’t laugh, you get too stiff and serious but if you laugh, you are able to escape a little and move forward.”
The lighting changes for each scene and seems to reflect the emotions felt in every act – blue for the sadness and loneliness felt when getting old and red for the frustration brought on by loadshedding and potholes. Each scene tells a story of its own while adding the razzle dazzle qualities associated with theatre, a truly spectacular experience.
When asking the event organiser, Hayleigh Evans said the show exceeded her expectations, and going forward she hopes, “[Having] a live and consistent, permanent program where performers can thrive”, will bring people together.
Ramsay and Bentel are currently both working on projects of their own but plan on having many more magical performances together in the future.
FEATURED IMAGE: Wits School of Arts lecturer Fiona Ramsay singing during her performance of the Old and Beautiful at AFDA’s Red Roof Theatre in Milpark during the Iyabuya Festival on March 31. Photo: Georgia Cartwright
Defending champions FNB UP-Tuks will play in the Varsity Shield next season after their Round 6 defeat by FNB Wits.
FNB Wits secured a historic win over the University of Pretoria (UP-Tuks) in the Varsity Cup on Monday, March 27, with a 77th minute try and conversion, for a score of 33-21.
Wits had an impeccable start with flyhalf Setshaba Mokoena scoring a try in the sixth minute and shortly thereafter, Wian De Lange and Lindo Ncusane scoring two more tries with successful conversions. UP-Tuks fought back with wing Bayanda Ngubane scoring a try with a conversion, however, Wits maintained their 19-7 lead by the end of the first half.
Tuks gained ground in the second half with eighth-man Divan Venter and centre Zander Reynders scoring point-of-origin tries in the final quarter, earning the Pretoria team bonus points for a total of 21. However, Wits managed to keep up the pressure with lock Hendrick Gouws scoring a try and prop Banele Mthenjane winning the game for the Witsies, relegating the defending champions to play in the Varsity Shield next season.
Afterwards, Wits player, Dameon Venter, told Wits Vuvuzela that, “We prepared really well and understood that if we just stuck to our plan the result would [yield] itself.” He added that their strategy for the rest of the season involved, “taking each challenge week by week [as we] have set clear goals to go all the way and make history”.
Supporters of the Braamfontein team came out in their numbers to cheer the home side. After the game, Jack Du Toit, a third-year civil engineering student said, “It is my first time watching a live game and it is an awesome experience to see good vibes and students having fun because [that] is what Varsity Cup is all about, bringing people together.”
Tuks third-year psychology student Pepi Mushayabasa was disappointed at the result, saying, “[Tuks] had the potential to do better if there were more Tuks supporters [because] the vibe isn’t there for them.”
Wits will play the FNB NWU Eagles in Round 7 at the Wits Stadium, on April 3, 2023.
UP-Tuks player, Johannes Mare and Witsie, George Devenish reach for the ball during a lineout in their Round 6 game in the Varsity Cup on March 27, 2023 at the Wits Rugby Stadium. Photo: Georgia Cartwright
FEATURED IMAGE: FNB Wits Rugby players face off in a scrum against UP-Tuks during a Varsity Cup Round 6 match on March 27, 2023 at the Wits Rugby Stadium. Photo: Georgia Cartwright
Since her announcement as the Democratic Alliance’s mayoral candidate for Johannesburg, Helen Zille has dominated national headlines. In this bonus episode of We Should Be Writing podcast, hosts Lulah Mapiye and Bonolo Mokonoto dissect a media meet-and-greet with the mayoral hopeful. From her extensive political résumé to her controversial public utterance, we examine why the Democratic Alliance has chosen Hellen Zille as their candidate for the 2027 local mayoral elections. Additionally, […]
