Kwaito, one of the most important music genres and cultural innovations to emerge in Post-Apartheid South Africa is music that is characterized by being ‘after the struggle.’ It is a kind of music that branches off of the genres House and Hip-Hop. It is seen as being apolitical and does not pay attention to the political side of South Africa. However, politicians have been known to use Kwaito to relate to the youth of South Africa. Furthermore, Kwaito is also seen to be related to American styles of music through the kinds of messages they promote and convey. A strong name in the Kwaito genre is Arthur Mafokate who is considered one of the founding fathers of this new and upbeat style of music.
Basically a type of dance music, most Kwaito songs are composed of slowed down House tracks and repetitive lyrics. This genre relates well to the youth of South Africa due to its appealing lines and words. The lyrics of Kwaito tend to mention and possess rebellious, defiant, and illegal values. Also, the genre of Kwaito music has been attributed with the young lingo/dialect and fashion norms. Due to this, the music is usually listened to at all-night parties that are referred to as ‘bashes.’
History and Politics
This genre of music started emerging in the 1990s and continued to grow throughout the decade. There have been traces of Marabi music from the 1920’s and Kwela music from the 1950’s found in Kwaito. This is because there is a combination of multiple rhythms from those time periods and genres. Moreover, Kwaito was influenced by many famous artists from the past including legends such as Miriam Makeba and Brenda Fassie. These influences helped Kwaito keep a strong base because it now had ties to music before the end of Apartheid a...
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... to the new and free South Africa that is originates from.
Works Cited
Mus, L. (2004). Kwaito versus crossed-over: Music and identity during south africa's rainbow years, 1994–99. Social Dynamics: A Journal of African Studies, 30(2), 82-111. Retrieved from http://www.tandfonline.com/doi/pdf/10.1080/02533950408628686
Music.org.za. (2014). Mafokate, Arthur (South Africa). Retrieved from: http://www.music.org.za/artist.asp?id=92
SAHO. (2009). Kwaito. Retrieved from: http://www.sahistory.org.za/performing-arts/kwaito
Steingo, G. (2005). South african music after apartheid: Kwaito , the “Party politic,” and the appropriation of gold as a sign of success. Popular Music & Society, 28(3), 333-357. doi:10.1080/03007760500105172
Steingo, G. (2007). The politicization of "Kwaito": From the "Party politic" to party politics. Black Music Research Journal, 27(1), 23-44.
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Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
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Miller, Terry, and Andrew Shahriari. World Music: A Global Journey. New York, London: Routledge Taylor and Francis Group, 2006.
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Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
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Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf
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