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 South 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.
Etymology The word kwaito originates from the South African slang "kwaai," which conveys the meaning of "cool" or "bad" in a positive context. The term "kwaai" itself is rooted in Afrikaans, where it initially signified "angry" or "fierce." However, within the framework of South African youth culture, its connotation had shifted to represent something fashionable or noteworthy.
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 , meaning those house tracks were hot, that they were kicking." An Isicamtho word derived from the Afrikaans word kwaai is amakwaitosi, which means gangster. Arthur Mafokate described the relationship between kwaito and gangsterism as music revolving around ghetto life.
History Kwaito evolved and emerged in South Africa as a distinct genre between the late 1980s and early 1990s, becoming prominent music within the post-apartheid cultural milieu. Schools in the townships were burdened by severe financial limitations and were unable to offer programs such as music classes that might have enriched students' educational experiences. During and shortly after the apartheid era, the South African education system was characterized by severe segregation and inequality. Schools in townships received scant resources and inadequate support in comparison to those in more affluent areas, further constraining educational opportunities for township students.
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 required no formal knowledge of music theory, rehearsal spaces, or expensive instruments, making it easily accessible to individuals in disadvantaged 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 raves 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. Sandy B's 1994 album AmaJovi Jovi was the first kwaito release from KwaZulu-Natal to achieve national success.
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.
Characteristics Kwaito is characterized by a slow tempo. The genre is distinguished by its prominent, synthesized bass lines and songs often features a funky, melodic quality. The drum patterns in kwaito are influenced by house music however are executed with a more relaxed approach. The genre prominently features drum machines and electronic percussion. Production techniques in kwaito frequently involve sampling from traditional South African music, hip-hop, and disco. The influence of Zulu music is particularly notable, with kwaito often incorporating traditional Zulu musical elements and rhythms. Vocals in kwaito are typically delivered in a conversational or narrative style. Lyrics are performed in various South African languages, such as Zulu, Sotho, and Afrikaans, and explore themes ranging from social and political commentary to personal experiences and celebratory subjects. Sometimes kwaito lyrics are explicit, reflecting the genre's engagement with real-life issues and experiences. Additionally, the use of Tsotsi Taal adds a layer of linguistic richness.Mhlambi, Thokozani. "Kwaitofabulous: the Study of a South African urban genre." Journal of the Musical Arts in Africa, Volume 1, pp. 116–127. University of Cape Town. 2004Thokozani, Mhlambi. "Kwaitofabulous: the study of a South African urban genre". Journal of the Musical Arts in Africa, Volume 1 2004, pp. 116–127.Swink, Simone. Kwaito: Much more than Music. 7 January 2003.Robinson, Simon. "That's Kwaito Style." Time Magazine, 11 April 2004.Swink, Simone. "Kwaito: Much More Than Music". South Africa. 7 January 2003.
Record producers and record sales Producers who played a major role in the genre's evolution include M'du, Arthur Mafokate, Spikiri, Don Laka, Sandy B, Oskido, Rudeboy Paul, Dope, Sanza and Sello Chicco Twala. Spikiri, refined kwaito's signature sound by incorporating distinctive rhythms and local musical elements. Sello Chicco Twala, mentored several kwaito artists. Mdu Masilela also played a crucial role, known for his combination of melodic elements and rhythmic innovation. During the genre's inception, kwaito rapidly gained popularity in South Africa. Musicians such as Mandoza, Arthur Mafokate, and Boom Shaka achieved significant commercial success, earning platinum status and solidifying the genre's position in the South African music scene. During the 1990s and early 2000s, kwaito consistently topped local music charts, reflected in numerous gold and platinum certifications.
Women in kwaito Kwaito was initially a largely male-dominated music genre, in regards to the artists as well as the management.Mhlambi, Thokozani. "Kwaitofabulous': The study of a South African urban genre." Journal of the Musical Arts in Africa, vol 1 (2004): 116–127. However, there were a number of female artists that managed to become quite successful. Brenda Fassie, a South African pop superstar, quickly adopted a kwaito style as it surged to popularity in the 1990s. According to Time, she was known both for her diva attitude and scandals involving sex and drugs, but also for lyrics that dealt with complex issues of African culture and life.Philadelphia, Desa. "The Madonna of the Townships." Time. . Accessed 29 February 2008. Lebo Mathosa rose to fame as part of the group Boom Shaka, and later became a solo artist despite (or perhaps because of) being sometimes called South Africa's "wild child" because of her sexually explicit lyrics and dance moves, she gained widespread popularity, and performed at Nelson Mandela's 85th birthday celebration. Lebo Mathosa had performed alongside American superstar performers Will Smith and Missy Elliott and had also recorded a duet with R&B star Keith Sweat. Iyaya, formerly of group Abashante, was known for "taking raw, street sexuality to the stage".Levin, Adam. "Girlz in the mood" . Posted 30 July 1998. Accessed 29 February 2008. Goddess, Venus, Chocolate and Rasta Queen were the four members of the all-female kwaito group Ghetto Luv. They adopted an "in your face" sexual style; the cover of their first album You Ain't Gonna Get None displayed all four members completely naked.
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