Genom en strukturerad genreanalys, enkätundersökning samt intervju med en DJ aktiv inom kwaito så tacklar denna uppsats uppgiften att klassificera kwaito som genre. Genom analysen så erhålls de strukturella särdrag som kan ses inom genren och detta testas mot enkätundersökningen som behandlar den allmänna uppfattningen om genren. Enkätundersökningen är i sig uppdelad i två segment vars indelning baseras på kulturella skillnader och den här uppsatsen vill belysa de båda antropologiska perspektiven etic och emic i form av en Sydafrikansk- och en icke-Sydafrikansk undersökningsgrupp. Syftet med undersökningen i den här uppsatsen är att öka förståelsen för kwaito som genre och på så vis öka förståelsen för klassificeringen av genrer. Men även huruvida detta återspeglas i enkätundersökningen. Särdragen presenteras i analysen och har anknytning till nutida forskningen. Det visar sig att perspektiven etic och emic har relevans på grund av de kulturellt bundna skillnaderna av uppfattning om genren. Den Sydafrikanska undersökningsgruppen ser tydligare kopplingar till de sociala och ideologiska aspekterna, och även house-musiken, av genren än vad den icke-Sydafrikanska.

Thesis (MPhil)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Kwaito music, pronounced either as kwhy-toh, or quite-oh, is an indigenous South African music style which came into existence after the apartheid era was abolished. It was created by the black South African youth at the time when everyone was looking forward to embrace the new South Africa as well as a new music style. The people in the Gauteng ghetto/townships called it KWAITO after the Afrikaans isicamtho (slang) word "kwai" which means "good" or "hot." It also stems from the Afrikaans word 'kwaai" meaning "angry." It can also mean that "the guys are hot." Kwaito is a distinctly home-grown music style, reflecting life in South Africa in the local languages and urban slang. It also has its own style of dancing, speaking, dress code and performing. It includes kwaito genres ranging from guz (meaning to show a sign of affection for your fellow human beings) d'gong (meaning "out of control") and isgubhu "drum" to swaito (an improved term for kwaito). The music is basically dance music and the lyrics are in many cases unsubstantial or even nonsensible for example in the kwaito artist, Mandoza's song, Godoba, the words "Cyborg/Move your skeleton" are being repeated throughout the song. Kwaito is normally not sung, but chanted or spoken rhythmically over the music. Kwaito music has a very high impact on many young people's lives because many young kwaito music artists have become very rich almost overnight. Black youth see the kwaito trend as a way out of their poor existence within the townships/ghettos. This study aims to divert the focus from the kwaito lifestyle (clothing, glamour, materialism) and instead concentrates on the musical aspects thereof. Many classically trained musicians and music teachers frown upon the kwaito music style and regard it as being senseless, unsophisticated and of a lower quality than the popular music that they are used to listening to. As with all other South African music styles such as mbaqanga, kwela, Afrikaans music, township jazz, Kwaito music is introduced into the secondary school subject music curriculum for grades 10- 12. Many schools in South Africa have installed computer laboratories for effective teaching and learning to take place. Schools also have music keyboard laboratories where learners are taught to compose electronic computer music. In view of the fact that almost all learners are computer literate the author has designed this electronic resource with lesson plans for teachers to be used in the secondary school on kwaito music specifically. One lesson plan is an example where kwaito music is notated and used in a four part harmony exercise. This resource is not geared towards the marketing of kwaito as a music style but is geared to make it substantial to be used as lesson material for secondary school subject music. A further aim is to sensitise the more musically educated ear to the musical qualities of the kwaito music style because in many cases it is being ignored by both learners and educators. This study is based on literature studies, empirical study. A website on kwaito music is designed and developed which contains information on the history of kwaito, the cultural democracy of kwaito, various artists, recording and marketing thereof. Sample lesson plans are also developed as part of the resource. / AFRIKAANSE OPSOMMING: Kwaito musiek, uitgespreek as kwy-toh of kwaai-toh, is 'n inheemse Suid-Afrikaanse musiekstyl wat na die apartheid era tot stand gekom het. Dit was deur die swart Suid Afrikaanse jeug geskep in die tyd toe almal daarna uitgesien het na 'n nuwe Suid Afrika sowel as 'n nuwe musiekstyl. Mense in die agter-geblewe gemeenskappe (ghettos) van Gauteng het hierdie musiekstyl KWAITO genoem afgelei van die Afrikaans "isicamtho" (gemengde tale) woord 'kwai' wat 'goed' of 'warm' beteken. Dit hou ook verband met die Afrikaanse woord 'kwaai' wat 'kwaad' beteken. Daar word ook geinsinueer dat 'die ouens goed of warm voorkom.' Kwaito is 'n kenmerkende plaaslike musiekstyl wat die alledaagse bestaanslewe in Suid Afrika deur middel van plaaslike tale en stedelike spreektale weerspieel. Dit het sy eie dansstyl, manier van praat, klere-modes en verhoog optredes. Dit sluit kwaito style soos Guz (wat beteken om vir jou medemens om te gee), D'gong (om buite beheer te wees),isgubhu (trom) en Swaito ('n verbeterde vorm van kwaito) in. Die musiek is basies dansmusiek en die lirieke is baie keer oppervlakkig of dit maak in sommige gevalle selfs nie sin nie soos byvoorbeeld in die kwaito kunstenaar, Mandoza, se lied Godoba, word die woorde 'Cyborg, beweeg jou geraamte' aanhoudend herhaal. Kwaito word gewoonlik nie gesing nie, maar ge'rap' wat beteken dat die woorde ritmies met klankbegeleiding gese word. Kwaito het 'n baie groot invloed op baie jongmense se lewens aangesien heelwat van die jong kwaito kunstenaars feitlik oornag baie beroemd en skatryk geword het e Die jeug dit as 'n uitweg beskou om hulself uit hul ellende en armoede te verhef Die doel van hierdie studie is om die fokus vanaf die kwaito leefstyl (kleredrag, glans en materialisme) te skuif en liewer op die musikale aspekte daarvan te konsentreer. Heelwat musikante en musiek onderwysers wat in klassieke musiek geskool is,stel nie in hierdie musiekstyl belang nie omdat hulle dit as sinneloos, ongesofistikeerd en van 'n lae gehalte as die bekende populere musiek beskou. Kwaito musiek is net soos aile ander Suid- Afrikaanse musiekstyle soos mbaqanga, kwela, Afrikaanse musiek, Afrika jazz by die vakmusiek leerplan vir sekondere skole, ingesluit vir grade 10- 12. Heelwat skole het rekenaar laboratoriums geinstalleer om effektiewe onderrig en leer te verskaf. Verskeie skole het selfs musiek klawerbord laboratoriums waar leerders geleer word om elektroniese rekenaarmusiek te komponeer. Weens die feit dat amper aile leerders rekenaar geletterd is, het die skrywer hierdie elektroniese kwaito hulpbron met lesplanne vir sekondere skool musiekonderwysers ontwikkel. Een lesplan is 'n voorbeeld waar kwaito musiek genoteer is en in 'n vierstemmige harmonie oefening gebruik word. Hierdie hulpbron is geensins daarop gemik om kwaito as 'n musiekstyl te bemark nie, maar om dit substantief te maak as lesmateriaal vir sekondere skool gebruik. 'n Verdere doel is om die musikale oor vir kwaito klank sensitief te maak aangesien dit baie kere deur beide leerkragte en leerders geignoreer word. Hierdie studie is gebasseer op literatuurstudies en empiriese studie. 'n Webblad is ontwikkel wat inligting oor die geskiedenis van kwaito, die kulturele demokrasie van kwaito, verskeie kunstenaars, asook die klankopnames en bemarking daarvan. Lesplanvoorbeelde is ook ontwikkel as deel van die hulpbron.

A research report submitted in partial fulfilment of the requirements for the degree of Master of Arts (Sociology) / Can there ever be a space for radical Black performativity, by which I mean, a type of Black performance that is a challenge to, and not just a reiteration of (including in others’ enjoyment of it) the anti-Blackness of the world? This project – film and conceptual essay - investigates the limits and boundaries of this question and it does so through kwaito: a uniquely South African post 1994 musical and cultural phenomenon that is specifically born from the experiences of township life and of Blackness in South Africa. It does so as a way to think about the validity of the proposition put forward by Black Studies (mainly in Afro-pessimism) that violence in the modern world underwrites the Black person’s capacity to think, act, and exist spatially and temporally, this is in opposition, say, to Fred Moten’s Black Optimism, that holds that ‘objects’, that is to say Blacks, can and do resist and they do so through performance. This project then enters the debate in Black Studies through a questioning of the ‘authenticity’ of Black radical performativity and cultural practices and it reads kwaito as a Black cultural performative practice that is a form of fugitivity. This paper looks at some of the more hopeful, humanistic interpretations of Black aesthetics and proposes as a challenge that we rather think about and read kwaito as something close to a deranged apocalyptic response to anti-Blackness, that does not offer answers, and is a movement that operates as a form of fugitivity that unveils the quotidian and banal subjectivity of Black township life in South Africa post 1994. / NG (2020)

No description available.

M.A. University of the Witwatersrand, Faculty of Humanities (Journalism and Media Studies), 2012 / This research investigates the representation of kwaito in the Sunday Times between 1994 and 2001, a period of transition for South Africa and the South African media. Kwaito, a music phenomenon that began in the streets of townships, was an important social development. Initially, it offered a range of ways in which post-apartheid black youth could represent themselves and their lives, both good and bad. The Sunday Times, on the other hand, was a white establishment newspaper that needed to change to represent a wider community and provide a space for the inclusion of previously neglected areas of South Africa cultural life. My analysis of all the articles on kwaito published in the newspaper demonstrates that the paper increasingly covered kwaito musicians and events, but tended to confine this coverage to the gossip pages of the City Metro, an insert aimed at black readers. On the other hand, commentators in feature and commentary articles in the main body, who had the power as “cultural consecrators” to investigate the meaning of kwaito as a phenomenon, tended to dismiss it as debased form of expression by lost youngsters. This bears out the argument by Hebdige that youth subcultures tend to be accommodated and contained by the media through a process of converting them into mass-produced objects or through neutering them ideologically.

Thesis (Ph. D.)--Ohio University, 2003. / Title from PDF t.p. (viewed on Apr. 30, 2006). Includes bibliographical references (p. 272-287).

This study seeks to investigate the origin and development of the thinking, make up, evolution, meaning, impact, essence of originality, and attempts to reclaim the true identity of African music of South Africa from 1963 to date by Philip Tabane through his concept of Malombo Music. This study introduces Philip Tabane’s biographical background, and sketches out the socio political milieu in which he has had to do creative work, maps out stages of development of Malombo music, and investigates how media was bent on shaping a particular public opinion about Malombo music. The latter is juxtaposed against Philip Tabane’s own philosophy of music making. The research further investigates what Tabane’s own definition of Malombo is. Primary and secondary sources of data are consulted, including a collection of primary data drawn from continuous dialogue with Dr Philip Tabane himself from 1990 to 2008, and getting to do media scan of public statements made in interviews with journalists. One on one discussions were held with Dr Philip Tabane in order to understand and verify popular views held about him and about his work. Secondary sources included newspaper articles, journals, policy documents, and internet survey. Findings of this research are a record of Philip Tabane’s life, discography; philosophy; compositions; key debates on the management of heritage; rights and ownership of intellectual property in South Africa; analysis of Tabane’s compositional and stylistic format; Tabane’s national and international profile; and suggestions for the development of true national heritage and culture. Above all the research findings will help in providing necessary understanding of South African music history, especially future challenges on concept development in music, ownership and rights, recommended amendments to the existing legislative framework that governs broadcast and copyrights, as well as the very history of one of the least celebrated but honoured son of the soil, Dr Philip Nchipi Tabane. Additional information available on a CD, DVD stored at the Merensky Library on Level 3 Copyright / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted