PAST RHYTHMS, PRESENT FREEDOMS: The generational endurance and power of Kwaito

When the thought of South Africa’s music scene comes to mind, descriptive terms such as “infectious”, “hypnotic” and “soulful” easily come to remembrance.

A lot can be discussed at length about the myriad of genres that are sonically indigenous to South Africa; however, there is something special to be said about Kwaito.

Kwaito is a Soweto-birthed sound, cultivated in post-Apartheid Mzansi that brought street slang, vernacular language, house-infused BPMs and lyrical content about the prospect of freedom and tangible liberation to the fore, for a people long oppressed by the tyrannical, white-ruling government.

When inspected at its root, the word Kwaito is derived from the Afrikaans term ‘Kwaai’ meaning “angry”. A shift in definition was adopted by pioneering, young black South Africans in the township of Soweto; flipping and translating the word in its original state to instead mean “cool” and creating a genre that spoke directly to their anticipation of independence and the teeming realities of living in a post-Apartheid South Africa, one that they had been fighting tirelessly for; one that was finally on the horizon.

Despite there being no nationally recognised “first” Kwaito song, a vast catalogue of genre-defining tracks that brought the sound to prominence and onto the world stage between 1993 and 1995 can easily be mentioned by proud citizens across the country.

‘It’s About Time’ by Boom Shaka is widely regarded as Kwaito’s first commercial hit, produced by house legends Oskido and Don Laka and performed by Thembi Seete, the late Lebo Mathosa, Junior Sokhela and Theo Nhlengethwa. It was through this release that the genre’s distinct sound design became the soundtrack of emancipation for black South Africans across the nation.

Other anthems widely recognised when played at family gatherings, through personal headsets at the gym, during television adverts, or kwaito sets at parties include ‘Vum Vum’ by Brown Dash, ‘Kortes’ by Mshoza and ‘Magasman’ by Trompies and Lebo Mathosa.

The emergence of genres like Amapiano and Gqom is built on the very foundations that Kwaito laid. A bridge connecting these two worlds is evident in the Kwaito-borrowed instrumentals, basslines and vocal expressions continually used in Amapiano hits since the genre gained commercial recognition.

‘Klaimar’ by the legendary Kwaito collective Chiskop (comprised of the late Mduduzi Tshabalala, affectionately and professionally known as Mandoza, Sizwe Motaung, known as General, Sibusiso Thanjekwayo, aka Lollipop and Siphiwe Sibisi, known to fans as Nimrod) is an example of a highly infectious Kwaito song with a hook so repeatable it had to be revived for South African youth 20 years later through an Amapiano interpolation on an Uncle Waffles song.

The scream-worthy chant heard on ‘Uyah’ featuring Jay Music, Imbongi Yosizi and 2woBunnies is reminiscent in the best ways of Chiskop’s ‘Klaimar’.

Reimagined near-perfectly through a present-day lens, the chant is a hallmark of Chiskop’s original sound, interpolated through the modern-day cadence synonymous with the Amapiano genre. As a company deeply invested in the heritage of South African music, clearing the use of this sample meant tracing the owners of the original composition and confirming their authority to approve usage of the chant. The Peech Consulting legal team had to understand the extent to which Chiskop’s rights were already protected by contacting the estates of late members. The artists featured on Uncle Waffles’ 4 Da Ho’s project, where ‘UYAH!’ is the intro, had to be roped into the conversation too before finalising clearance – a lengthy but worthwhile process to ensure the integrity of the music and all artists is maintained while allowing the feelings of national pride, enjoyment, autonomy and entertainment that both versions bring to two generations, 20 years apart, to be enjoyed.

At Peech Consulting, we are committed to preserving creative legacies, celebrating South African artists and fiercely protecting the rhythms that make our nation move. Happy Heritage Day!

Image Source:Musicology: The History of Kwaito – Identity and Revolution

Take A Bite: The Kwaito Edition

Discover the sound that scored South Africa’s freedom. This playlist features Boom Shaka’s groundbreaking “It’s About Time” alongside Trompies, Mshoza, Brown Dash, Chiskop and more, all born in 1990s Soweto from township slang, vernacular lyrics and slowed-down house beats. Then hear how that DNA lives on in Amapiano, from Kwaito-borrowed basslines to Chiskop’s “Klaimar” chant reborn on Uncle Waffles’ “UYAH!” two decades later. It’s a powerful reminder that our heritage keeps moving, and why tracing and honouring the original creators matters.

From kwaai to cool. Press play and hear two generations dance to the same heartbeat. Happy Heritage Day.