Kwaito is a type of music that began in Soweto, Johannesburg, South Africa, during the late 1980s and 1990s. It uses sounds and music pieces from South Africa. Kwaito songs have a slower speed compared to other house music styles. They often include repeating musical and rhythm parts that are easy to remember, strong, deep bass sounds, and singing. They also have a similar speed to early 1990s house music from New York City.
Etymology
The word "kwaito" comes from the South African slang "kwaai," which means "cool" or "bad" in a positive way. The word "kwaai" is from Afrikaans, where it originally meant "angry" or "fierce." However, among South African youth, the meaning changed to describe something fashionable or important.
Kwaito helped a post-Apartheid township subculture gain popularity, even though Afrikaans is connected to the apartheid regime and racial oppression. Many Afrikaans words, including "kwaai," are used in languages like Sabela, Tsotsitaal, and Camtho, where they take on new or related meanings. M'du Masilela, a key kwaito artist, explained, "When house music became popular, people from the ghetto called it 'kwaito' after the Afrikaans slang word 'kwai,' meaning those house tracks were hot, that they were kicking." The Isicamtho word "amakwaitosi," which comes from "kwaai," means "gangster." Arthur Mafokate described kwaito as music that focuses on life in the ghetto.
History
Kwaito developed in South Africa as a unique music style between the late 1980s and early 1990s. It became an important part of the music scene after apartheid ended. During and after the apartheid era, schools in townships faced serious problems, including a lack of money and resources. These schools could not offer programs like music classes, which could have helped students learn more. The South African education system during this time was divided and unfair, with township schools receiving far fewer supplies and support compared to schools in wealthier areas. This limited the learning opportunities for students in townships.
In this situation, kwaito became a type of music that did not require formal music lessons, large practice spaces, or expensive instruments. This made it easy for people in poor communities to create and enjoy music, even with limited resources. Key people in the early kwaito scene included Mdu Masilela (M'du), Mandla Mofokeng (Spikiri), Arthur Mafokate, Sandy B, and groups like MM Deluxe, Boom Shaka, Trompies, B.O.P, TKZee, and Bongo Maffin. These artists helped shape the sound and culture of kwaito.
After apartheid ended, South African musicians had more freedom to explore music from other countries and express themselves. Kwaito became a way to show this new freedom, with some songs using anti-apartheid chants as lyrics. It is often called the music that represents the generation that grew up after apartheid. A famous kwaito song, "Kaffir" by Arthur Mafokate, showed the freedom of expression that came with political change.
In the early 1990s, house music arrived in Cape Town through events like the World Peace Party and venues such as Club Eden, followed by Euphoria and DV8. House music also influenced the nightlife in Durban. This music movement spread to Johannesburg, where it became popular in clubs like 4th World. Durban made important contributions, including Sandy B's 1994 album AmaJovi Jovi, the first kwaito release from KwaZulu-Natal to gain national attention.
As kwaito became more popular, musicians started working together more often. For example, South African R&B artists like Danny K and Mandoza collaborated. Kwaito songs often received a lot of media attention. In 2005, Arthur Mafokate's song "Sika Lekhekhe" caused controversy because of its suggestive lyrics. The song was banned by a radio station, and Mafokate had to reshoot the music video.
Boom Shaka also faced criticism for using a kwaito beat in a version of the national anthem. While artists from Johannesburg were important in starting and popularizing kwaito, other regions also played a role.
In the late 1990s and early 2000s, the kwaito industry grew quickly, with more competition. Artists like Zola, Mandoza, Trompies, Mzekezeke, Brown Dash, Mahoota, Spikiri, Mzambiya, Chippa, Msawawa, Mshoza, Thembi Seete, Thandiswa Mazwai, Brickz, TKZee, Unathi, Brenda Fassie, and Sbu Malawyah became important figures. They influenced South African culture, language, and the economy in ways that were not possible during apartheid. Recording companies like TS, Ghetto Ruff, Kalawa Jazmee, Afrotainment, and Bulldogs helped discover new kwaito artists. A talent show called Jam Alley also gave many emerging musicians, such as Mandoza, Mzambiya, and Zola, a chance to be noticed.
Characteristics
Kwaito music has a slow rhythm. It is known for its clear, electronic bass sounds and songs that often have fun and catchy melodies. The drum patterns in kwaito are inspired by house music but are played in a slower, more laid-back way. This genre uses drum machines and electronic beats. Music producers in kwaito often take parts from traditional South African songs, hip-hop, and disco. The influence of Zulu music is especially clear, as kwaito songs sometimes include traditional Zulu sounds and rhythms. Singers in kwaito usually speak or tell stories in a natural way. Lyrics are sung in different South African languages, such as Zulu, Sotho, and Afrikaans. These lyrics cover topics like social and political issues, personal stories, and celebrations. Sometimes, the lyrics are direct or explicit, showing the genre's connection to real-life experiences. The use of Tsotsi Taal, a type of slang, adds more depth to the language used in kwaito.
Record producers and record sales
Producers who played an important role in the development of kwaito include M'du, Arthur Mafokate, Spikiri, Don Laka, Sandy B, Oskido, Rudeboy Paul, Dope, Sanza, and Sello Chicco Twala. Spikiri helped develop kwaito's unique sound by adding special rhythms and local music elements. Sello Chicco Twala guided several kwaito artists in their careers. Mdu Masilela was also important, known for blending musical melodies with creative rhythms. When kwaito first began, it quickly became popular in South Africa. Musicians like Mandoza, Arthur Mafokate, and Boom Shaka achieved great success, earning platinum records and helping establish kwaito as a major part of South African music. From the 1990s through the early 2000s, kwaito songs frequently reached the top of local music charts, as shown by many gold and platinum awards.
Women in kwaito
Kwaito was originally a music style mostly created and managed by men. However, some female artists became very successful in this genre. Brenda Fassie, a famous South African pop singer, quickly used kwaito music when it became popular in the 1990s. According to Time magazine, she was known for her confident personality, scandals involving sex and drugs, and songs that discussed important issues about African culture and life. Lebo Mathosa became famous as part of the group Boom Shaka. Later, she became a solo artist. She was sometimes called South Africa's "wild child" because of her bold lyrics and dance moves. Her popularity grew, and she performed at Nelson Mandela’s 85th birthday celebration. Lebo Mathosa performed with American artists Will Smith and Missy Elliott and recorded a song with R&B singer Keith Sweat. Iyaya, who was once part of the group Abashante, was known for showing raw, street-style sexuality on stage. The all-female kwaito group Ghetto Luv included Goddess, Venus, Chocolate, and Rasta Queen. They used a bold and direct sexual style. Their first album, You Ain't Gonna Get None, had a cover showing all four members completely naked.
During the rise of kwaito, Boom Shaka became a voice for young women and a symbol of empowerment. They used sexuality to celebrate black women and natural female desires. Boom Shaka also supported political causes by creating a new South African anthem that highlighted women’s ability to influence society. Kwaito gave women a new way to express themselves in post-apartheid South Africa. A CNN article listed Boom Shaka and TKZee as the most influential kwaito groups in South African music. Boom Shaka’s music was popular not only in South Africa but across Africa. Their songs represented the voices of young people who were often ignored by governments in post-colonial Africa.
Subgenres and styles
Durban Kwaito, also called kwaito house or Durban house, is a type of kwaito music that began in Durban between the 1990s and early 2000s. It developed before it had a name and mixed different kinds of house music more than traditional kwaito. Durban kwaito started when new artists and producers from Durban added local drum beats and new music-making methods to traditional kwaito sounds. Important people in creating Durban kwaito include DJ Fisherman, Durban's Finest (DJ Tira and DJ Sox), Sandy B, DJ Tira, Big Nuz, L'vovo, DJ Cleo, Danger, Shana, Professor, Character, Tzozo, Sox, Zakes Bantwini, DJ Siyanda, NaakMusiQ, Unathi, DJ Cndo, and DJ Bongz. These artists helped make the Durban kwaito sound, which uses faster beats, tribal house, deep house, electro, and other local influences. For example, DJ Tira played music in Ibiza, Spain, from 2000 to 2001, which is famous for house music and raves. The Zulu word "Isgubhu" means a drum sound coming from speakers and became closely linked to Durban kwaito. Durban kwaito influenced the creation of bacardi house and later gqom. The word "gqom" in Zulu means "hitting drum" and became a separate style called sgubhu, which is different from Durban kwaito. Because of its influence on gqom, Durban kwaito is sometimes confused with or called gqom.
Future Kwaito mixes traditional kwaito with gqom, drone music, industrial music, and traditional house music. It was created by Stiff Pap in the late 2010s.
TKZee's "guz" style showed how kwaito blended with hip-hop. It kept the basic kwaito rhythm but added 1990s hip-hop sounds through rapping. Guz showed how kwaito changed over time by including hip-hop elements. It was popular with many people.
New Age Kwaito combines hip-hop with classic kwaito songs and samples. It started in mid-2017 and is linked to artists like Kwesta, Riky Rick, Spoek Mathambo, Okmalumkoolkat, Cassper Nyovest, and K.O.
Skhanda Rap mixes traditional kwaito with rapping. It began in the mid-2010s. Artists include K.O, Ma-E, Maggz, Kid X, and Moozlie. The album Skhanda Republic helped define Skhanda Rap.
Kwai-jazz, also called kwaai jazz, is kwaito music that includes jazz elements. It was created by Don Laka in the 1980s.
Political and social impact
Kwaito music began in South Africa during the time when the country was moving away from apartheid. It had a big effect on politics and was a strong way for people to express their feelings and show resistance. This music reflected the social and political changes happening after apartheid ended. Kwaito songs often talked about problems like poverty, unfair treatment, and life in cities, which connected with the challenges and hopes of people who were not treated equally in South Africa. A scholar named Gavin Steingo studied how Kwaito music was used to share political messages and criticize society. He said that the music’s growth and how people received it showed changes in how South Africans thought about politics and their identities. His research showed that Kwaito songs and performances often focused on themes like strength and fighting back, showing its importance as both a cultural and political movement. Kwaito also faced criticism from political and social leaders, as noted by Arthur Mafokate and Boom Shaka, because some of its content was seen as too bold. Overall, the rise of Kwaito and its influence on South African society showed that it was not only a type of music but also a way to share political ideas and discuss social issues.
According to Rudeboy Paul, "Kwaito is a way to share thoughts and ideas, giving young people from townships a chance to speak about their problems, like the social issues around them, the difficulty of finding jobs, and raising awareness about HIV and AIDS."
Performance and cultural significance
Livermon writes, "Kwaito bodies exist within the city, dealing with complex situations from life after apartheid. These moments of negotiation, where people express themselves and live out their identities, create creative tension in this cultural study." Through this study, Kwaito is shown as more than just a type of music. Instead, Kwaito becomes a way for Black South Africans to express freedom through movement and sound in the time after apartheid. In the Freedom Sounds documentary, Thandiswa Mazwai talks about how South African youth are brought back into public and performance culture. This visibility means performers must "show different parts of Kwaito bodies, giving a way to understand young Black people and their experiences of joy and identity within systems of power." Finding awareness of one’s power and true self through performance is seen as a bold act. This idea of being bold does not come from Kwaito dance directly discussing struggles or overcoming political issues. Instead, it comes from breaking away from the idea that Black music, art, and performance must always have clear political messages. Instead, Kwaito values celebration, joy, and overcoming challenges.
Kwaito’s use of local languages is also seen as innovative and helped shape a new cultural identity for South Africans. The genre had a big influence on South African fashion and lifestyle, especially connected to urban youth culture. It inspired trends like casual street clothing and unique fashion choices. Outside of South Africa, Kwaito gained attention worldwide.
Criticism
Kwaito music has faced criticism. The Kwaito music industry is mostly controlled by men, especially in management roles. Few female artists have achieved success in this genre. Lebo Mathosa, a well-known female artist who was part of the group Boom Shaka, said it was hard to find female producers in the country, as most producers are men. Some people also criticize Kwaito for lacking talent, being too focused on selling music, and featuring lyrics and dances that emphasize sexual themes.
Because the industry is male-dominated, Kwaito music often uses images of women in its lyrics that focus on physical appearance. However, some groups, like Trompies, use these images to make social and political messages. In one of their music videos, a beauty contest shows women who are not traditionally seen as "beautiful" receiving attention. The group wants to show that beauty standards can vary and do not always follow other cultures' ideas. More women are now entering the Kwaito scene, such as Lesego Bile. She says she enjoys the challenge of being in a male-dominated genre and uses her past experiences to stay true to herself. She refuses to dance in a sexually suggestive way to please audiences, unlike some other female artists. Lesego aims to support other female artists and address social issues through her music.
Kwaito has also been criticized for being similar to American hip hop. In an article titled "Kwaitofabulous," Thokozani Mhlambi explains that some European scholars believe Kwaito is not authentic because it resembles American hip hop, which they say ignores the cultural and historical struggles of South Africans. Mhlambi disagrees, pointing out that Black youth in both the United States and South Africa have faced similar challenges from white populations, which may explain why their music is similar. He also notes that critics from other cultures do not understand how both Kwaito and hip hop require group collaboration. Mhlambi believes Kwaito and hip hop share similarities due to their origins but does not think Kwaito is a direct copy of hip hop.
Gavin Steingo, a researcher, agrees with Mhlambi. He 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 Kwaito was influenced by house music and American hip hop, as well as ancient African music. Steingo explains that a version of hip hop already exists in South Africa and is not Kwaito. He says people often mistake Kwaito for South African hip hop because both use rhyming in their lyrics, but they are different genres. Kwaito mixes hip hop, disco, and house music, while the hip hop scene in South Africa follows a style more similar to American hip hop. The hip hop scene is also more political and focused on social issues, unlike Kwaito, which is mostly apolitical. A South African hip hop group called Godessa says, "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 way to speak to the masses." Hip hop is growing in popularity in Johannesburg, where Kwaito is most popular, creating a rivalry between the two genres.
Despite these criticisms, Kwaito remains an important part of South African youth culture.
Cultural context and implications
Kwaito music comes from the townships of South Africa and shows the culture and history there. It is influenced by Black South African society and affects the popular culture of cities like Johannesburg and Cape Town. Kwaito spreads ideas about fashion, language, and attitudes. It is also used by advertisers and companies to reach people and sell products. The popularity of Kwaito music and the interest of marketers in reaching youth in Soweto, who are seen as trendsetters, led to using Kwaito music to advertise products from North America.
Kwaito helps people understand the social and cultural life in Soweto. Songs like "Bantwan" by Bob Mabena, which talk about buying things and negative views of women, and "Isigaga" by Prophets of Da City, which also shows similar negative attitudes, are examples. Kwaito also discusses the struggles of Black people and the effects of colonialism. Songs like "Kaffir" by Arthur Mafokate address racism, and "Mblwembe" by Zola talks about crime in townships. These songs help people share and discuss social issues. Another way Kwaito reflects South African society is through its dancehall style, which shows how important dancehalls are in poor areas as places where people gather. A South African Kwaito fan named Nhlanhla Sibongile Mafu explained that dancing becomes a way to enjoy life while also talking about the real problems people face in poor neighborhoods.
It is said that a society with many restrictions can lead to creative art, which helps people express themselves. In 1994, apartheid ended in South Africa, and Kwaito music became a symbol of the new generation of young people. It was not just music but also a way of life, including how people spoke, danced, and dressed. Kwaito reflects the lives of South African youth, much like how American hip hop shows life in U.S. inner cities. This music represents the voices of people who are now free to speak openly about their lives.
Kwaito is compared to international music styles like Jamaican dancehall and UK grime. Dancehall started in the 1950s and 1960s when Jamaicans were trying to gain independence from Britain. Similarly, Kwaito began after apartheid ended in South Africa, both created by young people from lower classes. Both genres took inspiration from new governments that seemed to allow more personal wealth and glamorous lifestyles. They also share themes like talking about violence, crime, AIDS awareness, and women's safety.
The similarities between dancehall and Kwaito are linked to the connection between South Africa and Jamaican music. During apartheid, African reggae artists like Alpha Blondy from Côte d'Ivoire and Lucky Dube from South Africa were popular across the continent. Alpha Blondy criticized apartheid by comparing it to Nazism. Many Kwaito musicians grew up listening to Jamaican music, which helped Black youth in South Africa feel proud of their identity. Stoan, a member of Bongo Maffin, said that Jamaican music was one of the few forms of imported music that celebrated Blackness and gave young people something positive to connect with during apartheid.
Dances
Kwaito is not only a type of music but also a cultural movement. A CNN article described kwaito as a subculture known for its mix of catchy dance music. Sonjah Stanley-Niaah wrote in her article "Mapping Black Atlantic Performance Geographies: From Slave Ship to Ghetto" that dancing played an important role in making kwaito more popular. In South Africa, starting in the 1950s, people gathered at shebeens—unlicensed social clubs—to listen to music, dance, and spend time with others on weekends. At these parties, which often took place in homes rather than clubs, dancers were a key reason men attended. As kwaito became the main music style in shebeens, its popularity grew quickly. Boom Shaka, the first kwaito group, was also the first to create and teach dance moves that matched the music. These dances reflected daily life in South Africa by blending traditional styles from the region. The new dance styles also sparked conversations about relationships between men and women.
Pantsula is a dance style that began in the 1980s and is mainly performed by men. It represents the culture of lower-class communities and involves large groups of dancers moving together in a coordinated way. The 1988 film Mapantsula is named after this dance and tells the story of the anti-apartheid movement in South Africa. It was the first film about the anti-apartheid struggle that focused on black South Africans.
Kwaito and globalization
Because of globalization, kwaito music from South Africa began to mix with American rap music. Kwaito artists saw this blending as a danger to keeping their music true to South African culture. To protect their music's identity, these artists worked to keep a strong emotional connection with their audience. Large international companies were not interested in changing kwaito to match American styles because real kwaito music reflected the unique experiences of South Africa. Many artists believed that making kwaito sound more like American music would weaken the meaning and roots of the original style.