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Kwaito is a music genre that emerged in Soweto, Johannesburg, South Africa, between the late 1980s and 1990s. It is a sound that features the use of African sounds and samples. Kwaito songs occur at a slower tempo range than other styles of house music and often contain catchy melodic and percussive loop samples, deep bass lines and vocals. They are also very similar tempos to early 1990s NYC house tracks.
Kwaito led a post-Apartheid township subculture into the mainstream despite the fact that the Afrikaans language is associated with the apartheid regime and racial oppression, Afrikaans words are often drawn into the Sabela and Tsotsitaal and Camtho vocabularies, reshaped and used in a related or new context. M'du Masilela - a pioneering kwaito artist, said, "When house music got popular, people from the ghetto called it Kwaito after the Afrikaans slang word kwai (2025). 9780429951763, Routledge. ISBN 9780429951763 An Isicamtho word derived from the Afrikaans word
In this context, kwaito emerged as a genre that did not necessitate formal music theory, extensive rehearsal space, or costly instruments, thus proving particularly accessible to individuals in these disadvantaged communities. The genre's minimal barriers to entry enabled young people in the townships to engage with music and exercise their creativity, despite the constraints imposed by their educational and economic environments.Magubane, Zine. "Globalization and Gangster Rap: Hip-Hop in the Post-Apartheid City." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, pp. 208–229. London; Ann Arbor, MI: Pluto Press. Key figures in the early kwaito scene included Mdu Masilela (M'du), Mandla Mofokeng (Spikiri), Arthur Mafokate, Sandy B and groups such as MM Deluxe (M'du Masilela, Spikiri), Boom Shaka ( Lebo Mathosa, Theo Nhlengethwa, Thembi Seete), Trompies (Spikiri, Mahoota, Donald Duck, Jakarumba, Mjokes), B.O.P, TKZee (Tokollo Tshabalala, Kabelo Mabalane, Zwai Bala) and Bongo Maffin (Stone Seate, Jah Seed, Speedy, and Thandiswa Mazwai) whose contributions were instrumental in shaping both its musical and cultural identity. Kwaito did not require a formal knowledge of music theory, large spaces to rehearse, and expensive instruments, it was easily accessible to individuals especially in downtrodden communities.
Newfound freedom gave South African musicians easier access to international works and a greater ability to freely express themselves. As a result, kwaito has also been known as the expression of this new freedom, and many anti-apartheid chants have been used as lyrics for kwaito songs.Mhlambi, Thokozani. "'Kwaitofabulous': The study of a South African urban genre." Journal of the Musical Arts in Africa, vol 1 (2004): pp. 116–127. Kwaito has been called the music that defines the generation who came of age after apartheid. The Kwaito Generation: Inside Out: a production of 90.9 WBUR Boston, MA A notable kwaito track titled "Kaffir" by Arthur Mafokate exemplified the freedom of expression that emerged with South Africa's political liberation. In the early 1990s, house music made its way to Cape Town through such as the World Peace Party and in iconic venues like Club Eden, followed by Euphoria and DV8. Concurrently, house music also began to influence Durban's nightlife scene. This musical movement then spread northward, gaining prominence in Johannesburg clubs like 4th World. Durban also made significant contributions. In 1994, Sandy B released the album AmaJovi Jovi, which achieved major national success and is acknowledged as the first kwaito album from KwaZulu-Natal.
As kwaito attained mainstream prominence in South Africa, collaborations became increasingly prevalent, exemplified by the notable collaborations between South African R&B artists such as Danny K and, Mandoza. Kwaito hits frequently attracted significant media attention. Arthur Mafokate's August 2005 release, "Sika Lekhekhe" (a Zulu expression that translates literally to "cut this cake" and figuratively to "have sex with me") generated considerable controversy. The song was banned by the South African Broadcasting Corporation (SABC) radio station, and Mafokate was required to reshoot the song's music video in response to viewer complaints regarding its sexually suggestive content.
Similarly, Boom Shaka encountered substantial criticism from the political establishment for their interpretation of the national anthem with a kwaito beat. Although Johannesburg-based artists played a crucial role in the genre's emergence and popularization.
In the late 1990s and early 2000s, the kwaito industry witnessed swift expansion and escalated rivalry. Zola, Mandoza, Trompies, Mzekezeke, Brown Dash, Mahoota, Spikiri, Mzambiya, Chippa, Msawawa, Mshoza, Thembi Seete, Thandiswa Mazwai, Brickz, TKZee, Unathi, Brenda Fassie and Sbu Malawyah emerged as influential figures in South Africa, shaping the country's culture, language, and economy in ways that were unattainable during the era of government-imposed segregation under apartheid. The Kwaito Generation: Inside Out:: A production of 90.9 WBUR Boston, MA TS, Ghetto Ruff, Kalawa Jazmee, Afrotainment and Bulldogs were the leading recording companies responsible for discovering kwaito artists. The South African talent show Jam Alley provided a significant platform for many emerging kwaito musicians, such as Mandoza, Mzambiya, and Zola.
During the emergence of the kwaito, Boom Shaka emerged as a voice for young women and a symbol of empowerment. They used sexuality as an expression and celebration of black women and the natural female sexual desires. Boom Shaka engaged in political activism by advocating for women's voices through their recording of a new South African anthem that emphasized women's capacity to effect societal change. Kwaito provided women with a novel form of agency for self-representation in post-apartheid South Africa.Magubane, Zine. "Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 208–229. London; Ann Arbor, MI: Pluto Press A CNN article considered Boom Shaka alongside TKZee the most influential kwaito groups in South African music. Wright, Steve. "Kwaito:South Africa's hip-hop?". Posted 9 June 1999. Accessed 29 February 2008. Boom Shaka's music gained popularity not only in South Africa but throughout Africa. The group's music represented the voice of young people who were often neglected by governments in post-colonial Africa
According to Rudeboy Paul, "Kwaito is a platform that serves to drive thoughts, ideas, gives kids from the township a voice in which to speak on what their concerns are, social ills happening around them, the fact that they can't find jobs out there, HIV and AIDS awareness as well."
Kwaito's also considered innovative use of local languages, played a key role in shaping a new cultural identity for South Africans. The genre had a significant impact on South African fashion and lifestyle, closely tied to urban youth culture. It inspired styles and trends, such as casual streetwear and eclectic fashion choices. Beyond South Africa, kwaito garnered international attention.Swink, Simone. Kwaito: Much More Than Music. 22 December 2005. 28 February 2008. .
Being male-dominated, kwaito tends to misrepresent women in their lyrics by referencing the body and sexual images. Some kwaito groups like Trompies are using the image of the woman to make a social and political statement. In one of their music videos, there is a beauty contest and the women that win and get all the male attention are all on the heavier side. The group is trying to say that today's perception and definition of beauty does not have to adhere to other cultures' societal standards.Stanley-Niaah, Sonjah. "Mapping of Black Atlantic Performance Geographies: From Slave Ship to Ghetto." In Black Geographies and the Politics of Place, ed. by Katherine McKittrick and Clyde Woods, 194. Cambridge, MA: South End Press, 2007 Furthermore, more women are entering the kwaito music scene like artist Lesego Bile. She has claimed she enjoys the challenge of entered a male dominated music genre and uses her struggles from her past to help her stay true. She refuses to never exploit her body and dance sexually to please the crowd, like other female artists. She plans on making a strong statement for female artists, while commenting on social issues. Queen of Kwaito Singing a in Tune
Kwaito has also been criticized in that it has been labeled as the African version of hip hop or an imitator. In Thokozani Mhlambi's article "Kwaitofabulous", he points out various European scholars who have disclaimed the authenticity of hip hop as they believe it to undermine the cultural and historical struggles of the South African people because of Kwaito's similarity with American hip hop. Mhlambi, however, disclaims by pointing out that the Black youth of America and South Africa have faced similar oppressive histories by the white population, and thus makes sense to have its music similar as well. He also points out that the criticism from onlookers from other cultures do not realize how both kwaito and hip hop require performances and music making to be a group process and thus requires collaboration. He believes kwaito and hip hop to have many similarities due to both genre's origins; however, he does not believe kwaito to be a direct descendant of hip hop. Furthermore, many scholars and researchers of the genre, including Gavin Steingo, agree with Mhlambi in that they disclaim the idea that kwaito is purely South African hip hop. Steingo writes in an article titled "South African music after Apartheid: kwaito, the 'party politic,' and the appropriation of gold as a sign of success" that the genre was influenced by both house music and American hip hop, while also drawing on inspiration from ancient African music. Therefore, kwaito cannot be simply the South African version of hip hop. Also, Steingo writes that a version of hip hop music does already exist in the country, and it is not kwaito: "Because of seemingly obvious parallels between African American youth culture and the new Black South African youth culture, people have been inclined to think of kwaito as South African hip hop, or a South African version of hip hop (In 2000, Sterns/Earthworks released a kwaito compilation CD in the UK called Kwaito—South African Hip Hop). It would seem that this perceived familiarity is based primarily on the shared characteristic of rhyming in verse. And, though this is not totally invalid, it should be stated that there is a South African version of hip hop in South Africa and it is not (and has even come into conflict with) kwaito." Additionally, it is difficult to define Kwaito as a type of South African hip hop, as there is an actual emergent hip-hop scene. As kwaito, for the most part, remains apolitical, the hip hop scene, although less popular, generates a more political and gangster-esque style. This difference is described by the South African hip hop group Godessa, "Hip-hop is universal. We were excluded from Kwaito because we cannot understand it. To us, music is not just about dancing, it is a vehicle for us to speak to the masses." Similarly, hip hop is gaining popularity in Johannesburg, kwaito's stomping ground, and its emergence is fostering a rivalry of sorts, further separating the two genres. As Kwaito is more of a mixture of hip hop, disco, and house, the hip hop scene mirrors a more American style of hip-hop. "Jozi's Hip Hop Revolution," 20 May 2003 accessed on 2-29-08
Regardless of criticism, kwaito music now plays an important and prominent role in South African youth culture.
Kwaito acts as a reference point for understanding the social situation and cultural norms of Soweto society. Many songs such as Bantwan by Bob Mabena, "whose lyrics marry consumerism and female objectification" or Isigaga by Prophets of Da City which "expresses the same negative and misogynistic attitudes.".Magubane, Zine. "Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 208–229. London; Ann Arbor, MI: Pluto Press. p. 217 Kwaito also addresses the oppression of black people and the context of colonialism in which they still live. Songs such as Arthur Mafokate's song 'Kaffir' addresses the prevalence of direct racism and Zola's song Mblwembe (problem child) reflects the prevalence of crime in the townships serve as a means of social dialogue.'Kwaitofabulous: The Study of a South African Urban Genre by Thokozani Mhlambi, Published in the Journal of The Musical Arts in Africa Volume 1 2004,116–127 A third way in which a specific aspect black South African Society is reflected by Kwaito is in the dancehall nature of its origins and rhythms. It shows the prevalence of the dancehall in the impoverished townships and flat lands and illustrates the importance of the dancehall as a cultural meeting place. South African Kwaito enthusiast Nhlanhla Sibongile Mafu best articulated the balance between social commentary and recreation when he said, "dancing itself becomes the site for a radical rejection of the traditional struggle lyrics in favour of the liberation of pleasure, while at the same time attempting to use the language of the street to grapple with and articulate the present reality for the man and woman in the streets of the ghetto".Kagablog, posted 18 December 2007 by Nhlanhla Sibongile Mafu, johannesburg, 2002
It is said that " ...a repressive society would result in a creative art...it is an ingredient, it acts as a catalyst to a man who is committed." In 1994 apartheid ended in South Africa. Kwaito music in South Africa became a symbol of the new generation of youth; furthermore it was not just music, but it stood for a way of life and associated with it was a way of talk, dance, and dress.*Swink, Simone. "Kwaito: much more than music" , "South Africa", January, 2003. Accessed 28 February 2008. Kwaito reflects life for the South African youth in the townships, much in the same manner that American hip hop portrays life in the American ghetto. This type of music seems to be the newly unsilenced voice of the people speaking out freely in their society.
Critics have compared Kwaito to other international subgenres such as Jamaica's dancehall and the UK's grime. Dancehall was founded in the 1950s and '60s right when Jamaicans were trying to gain independence from the British. Similarly Kwaito was formed right after the apartheid was lifted in South Africa, both by young members of the lower class. Additionally both have "taken cues from the trends of new governments that supposedly gave rise to the advancement of personal wealth, and glamorized lifestyles." They also share a number of themes in common including commentary on violence and crime, AIDS awareness, and women's safety.
The commonalities between dancehall and Kwaito are in fact rooted in a deeper relationship between South Africa and Jamaican music. African reggae artists like Côte d'Ivoire's Alpha Blondy and South Africa's own Lucky Dube were popular throughout the continent during apartheid, and Alpha helped shed a negative light on the oppressive regime when he compared apartheid to Nazism.* Asiedu, William. "African youth turn up the volume on hip hop, reggae" , "Jamaica Gleaner", 3 February 2008. Many currently renowned Kwaito musicians grew up listening to Jamaican music, and Stoan, a member of Bongo Maffin, explained in an interview just how necessary an outlet this kind of music was: the representations of black people imported into the country during apartheid were singularly negative ones, and Jamaican music was one of the few imported forms that celebrated blackness and gave ghettoized black youth in South Africa something to embrace and identify with. As he describes it,
"If we had to look at any other example of black people off the continent who have found their essence, it's Jamaicans. For us, for South Africans after the curtain was lifted, after we could see other things besides what was presented to us on television which was blacksploitation sic. movies and stuff like that, buffoons, you know the picture of us. Any other picture of a successful black man was him behaving like a caricature of himself. Jamaicans brought another element to a picture we had of us as an out of body experience. Yeah, so I think you'll find that a lot of people, you know, have been touched by the culture, in South Africa, within 10 years."
Pantsula is a male-dominated dance that came about in the 1980s representing the lower class culture. The dance includes synchronized movements by large groups of male dancers. "Mapantsula" is the title of a 1988 film describing the anti-apartheid struggle in South Africa. It was the first anti-apartheid film relating to black South Africans.
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