Africans Communicating Africa (AfriComms Africa), a pan-African foundation committed to strengthening authentic African storytelling and nurturing a new generation of African communicators, will officially launch on Tuesday, May 26 in Accra.

Organised to coincide with Africa Day celebrations, the launch would convene thought leaders and communication professionals for timely conversations on how Africa is positioned globally and how Africans can take greater ownership of the continent’s narrative in a rapidly evolving, AI-driven world.

Seasoned professionals from academia, corporate communications, diplomacy, governance, the creative arts, and the media are expected to share insights on how Africans can shape and influence narratives across sustainability and climate communication, political communication, corporate communication, and diplomacy — particularly at a time when youth-driven digital storytelling is increasingly shaping Africa’s image, voice, and future.

Speaking ahead of the launch, Georgina Asare Fiagbenu, a Communications for Development Advocate, said the summit is designed to serve as a strategic platform for bold dialogue, diverse perspectives and meaningful collaboration among African communicators.

“The Communicating Africa Summit brings together and showcases leading voices in Ghana and across Africa from different communication spaces, reflecting the evolving landscape of African storytelling,” she said.

“Africa has never lacked communicators. What Africa needs are alternative, rich spaces where communicators can come together to exchange ideas, challenge perspectives, inspire new thinking, and collectively shape society,” she added.

The launch marks the beginning of a broader movement to strengthen Africa’s narrative power and build a vibrant community of professionals committed to telling Africa’s stories with clarity, confidence, authenticity, and purpose.

African communicators, media professionals, storytellers, creatives and institutions that believe in the power of authentic African narratives would be expected to be part of this important launch and to join the growing movement shaping how Africa tells its story to the world.

There are moments when music moves beyond entertainment and begins to carry history, memory, and identity in the same breath.

In Sierra Leone, that shift is now being tested through the One Nation Reggae Festival (ONRF), returning to Freetown from November 25 to 30, 2026.

Reggae is not new to Africa. Its roots and its reach have long circled between the continent and the Caribbean.

What is changing is how Sierra Leone is choosing to organise that connection, not as a loose cultural exchange, but as a structured tourism and creative platform.

At the centre of this effort is the Ministry of Tourism and Cultural Affairs, led by Minister Nabeela Farida Tunis, which is positioning ONRF as part of a wider push to use culture as a working part of tourism development, diaspora engagement, and creative industry growth.

The festival does not begin on a stage. It begins in history. Across Freetown and its coastal edges, heritage sites linked to the Atlantic slave trade sit within the festival’s programme, including Bunce Island.

These locations are not treated as background stops. They are part of the experience itself.

That design choice defines ONRF. It places reggae, a genre shaped by displacement and return, in direct conversation with the geography of that history.

Minister Tunis framed this connection in clear terms: “We invite the diaspora, global travellers, creatives, young people, and lovers of culture to come to Sierra Leone not only for entertainment, but for a spiritual rebirth, a rediscovery of identity, and an immersive experience of freedom, resilience, rhythm, and heritage.”

She described the festival as “a journey of reconnection and remembrance, rooted in the deep historical ties between Africa, the Caribbean and the wider Atlantic.”

The 2025 edition of ONRF established the foundation.

International reggae acts including Sizzla Kalonji, Christopher Martin, and Queen Ifrica performed in Freetown, joined by local talent from the Reggae Union Sierra Leone. But the programme extended far beyond music.

It moved through heritage tours across the capital, creative development clinics, an emerging artists platform, and a closing ceremony staged at Bunce Island. Each layer added a different entry point into the same story, music, memory, and movement.

A portion of proceeds was channeled into a Creative Village to support local musicians and technical crews. Another share went toward hurricane relief efforts in Jamaica, extending the festival’s reach into community support.

The outcome of that first edition was not only attendance. It was structure. ONRF began to operate less like a concert series and more like a cultural system linking performance, place, and participation.

The 2026 edition builds on that structure. Across six days in November, Freetown will host live roots reggae, workshops, traditional dance, food experiences, sound system culture, fashion showcases, and beach-based cultural activities. The festival is designed to move audiences across different spaces, not keep them in one.

The result is a layered experience where heritage tours sit alongside music stages, and where craft markets and creative labs exist within the same programme flow.

This year’s edition is expected to expand international participation while keeping local artists central, including continued involvement from Sierra Leone’s reggae community.

ONRF sits within Sierra Leone’s Year of Culture and Creativity, a national focus that links cultural programming with tourism growth and creative enterprise development.

In practical terms, the festival is being used to test how culture can operate across multiple sectors at once, tourism, entertainment, heritage, and creative training.

The 2025 edition showed what happens when heritage becomes part of a live event structure.

Sites like Bunce Island were not visited as static landmarks. They became part of a closing cultural programme that combined reflection with performance. The effect was a shift in how visitors moved through history, not as observers, but as participants in a staged experience.

Economically, the festival generated activity across hospitality, transport, and retail, with a sold-out concert anchoring demand in Freetown.
The second edition now carries a different test. It is no longer about introducing the concept.

It is about how far it can grow without losing its structure. More international acts are expected. More African and Caribbean collaborations are being planned.

The creative development components are set to expand further.
But the core design remains unchanged, music, heritage, and movement across spaces tied together in one programme.

The One Nation Reggae Festival is now operating in a space where culture is not only presented, but organised into an experience that connects identity, place, and tourism in the same frame.