John Knox Bokwe (15 March 1855 – 22 February 1922) was a South African journalist, Presbyterian minister and one of the most celebrated Xhosa hymn writers and musician.

His first known hymn, "Msindisi wa boni" (Saviour of Sinners), is particularly significant as it is considered the earliest notated composition by a Black South African.

Grant Olwage notes that "Msindisi wa boni" exemplifies Victorian hymn melody, showcasing a binary structure similar to popular tunes of the time, such as the Old Hundredth.

[4] As an established writer, he joined John Tengo Jabavu in producing the newspaper Imvo Zabantsundu ("African Opinion") in King Williams Town.

He played a role in the foundation in 1916 of what is now the University of Fort Hare (originally the South African Native College) in South-Eastern Cape Province.

Olwage suggests that this combination of styles reflects the cultural tensions of Bokwe's time, navigating between African and colonial influences.

Olwage points out that Bokwe's music sometimes included "harmonic blunders," such as parallel octaves or unusual chord progressions, which were corrected in later printings.

This hymn, Olwage argues, serves as an example of Bokwe's ability to adapt Western music forms while maintaining an African sensibility.

Despite some harmonic 'blunders,' such as parallel octaves, which were corrected in later versions, the hymn illustrates Bokwe's efforts to master European musical forms.

In 1892, at the invitation of friends in Scotland and England, Bokwe visited these countries, preaching sermons in churches, and telling his listeners about the work of the Lovedale Mission.

[11] In 1897, after 24 years of service, Bokwe left Lovedale Mission to collaborate with John Tengo Jabavu in producing the Xhosa newspaper Imvo Zabantsundu ("African Opinion") in King Williamstown.

iZwi la Bantu ("The Voice of the People") was founded and published in East London, under the editorship of N. C. Mhala, in opposition to the Imvo Zabantsundu ("African Opinion") newspaper.

Olwage notes that Bokwe’s brief involvement in journalism reflected his multifaceted contributions to Xhosa culture, although his true calling lay in music and ministry.

By mastering and sometimes subverting Victorian hymnody, Bokwe created a unique musical voice that resonated with both African and European audiences.

Olwage's analysis highlights Bokwe's compositions as embodying the tensions of his time, representing both the impact of colonialism and the resilience of African culture.

Only a small number, including prominent figures in late 1890s elite Melbourne society and missionaries in Australia, England and South Africa, have been identified.