Kwaito
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.
Kwaito evolved and emerged in South Africa as a distinct genre between the late 1980s and early 1990s,[6] 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.
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.
[7] 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.
[7] Newfound freedom gave South African musicians easier access to international works and a greater ability to freely express themselves.
[9] 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.
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.
Zola, Mandoza, Trompies, Mzekezeke, Brown Dash, Mahoota, Spikiri, Mzambiya, Chippa, Msawawa, Mshoza, Thembi Seete, Thandiswa Mazwai, Brickz, TKZee, Unathi, and Brenda Fassie 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.
[11] 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.
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.
[12][13][14][15][16][17][8][18] 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.
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.
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.
[25] 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.
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.
The word "gqom", which could be interpreted as "hitting drum" in the Zulu language later evolved into a distinct spinoff and subsequently birthed the subgenre, sgubhu (not to be confused with the term or Durban kwaito).
The genre addressed issues such as poverty, inequality, and urban experiences, deeply resonating with the struggles and aspirations of marginalized communities in South Africa.
Steingo’s research highlighted how kwaito's lyrics and performances frequently engaged with themes of empowerment and resistance, underscoring its role as both a cultural and political force.
Overall, the rise of kwaito and its impact on South African society demonstrated its significance not only as a musical genre but also as a medium for political expression and social commentary.
[46][17] 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.
[55] 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.
"[4] 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.
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.".
"[citation needed] They also share a number of themes in common including commentary on violence and crime, AIDS awareness, and women's safety.
[16] According to Sonjah Stanley-Niaah in her article "Mapping Black Atlantic Performance Geographies: From Slave Ship to Ghetto," dancing has given kwaito increased appeal.
