Born To Kwaito - Reflections On The Kwaito Generation

by Esinako Ndabeni, Sihle Mthembu

Born To Kwaito considers the meaning of kwaito music now. ‘Now’ not only as in ‘after 1994’ or the Truth Commission but as a place in the psyche of black people in post-apartheid South Africa.

This collection of essays tackles the changing meaning of the genre after its decline and its ever-contested relevance. Through rigorous historical analysis as well as threads of narrative journalism Born To Kwaito interrogates issues of artistic autonomy, the politics of language in the music, and whether the music is part of a strand within the larger feminist movement in South Africa. Candid and insightful interviews from the genre’s foremost innovators and torchbearers, such as Mandla Spikiri, Arthur Mafokate, Robbie Malinga and Lance Stehr, provide unique historical context to kwaito music’s greatest highs, most captivating hits and most devastating lows. Born To Kwaito offers up a history of the genre from below by having conversations not only with musicians but with fans, engineers, photographers and filmmakers who bore witness to a revolution.

Living in a place between criticism and biography, Born To Kwaito merges academic theories and rigorous journalism to offer a new understanding into how the genre influenced other art forms such as fashion, TV and film. The book also reflects on how some of the music’s best hits have found new life through the mouths of local hip-hop’s current kingmakers and opened kwaito up to a new generation.

The book does not pretend to be an exhaustive history of the genre but rather a present-active analysis of that history as it settles and finds its meaning.

215 pages, Paperback

First published January 1, 2018

Reviews

[Ayanda Xaba · Rating 5 out of 5]

"... The clearer it becomes that our lives mirror the journey that kwaito has taken; letting go, being hopeful, being dispossessed, and moving up."

- Esinako Ndabeni

[Siyabonga · Rating 4 out of 5]

Honestly this isn’t “your” typical scholarly on music but a thorough discourse on society, pop culture and the sound track of post-apartheid South Africa. Both writers respectfully inaugurated comprehensive conversations that unpack so much other than just what I had initially assumed would be a typical academic lesson on supposedly the roots, the basics and fundamentals of Kwaito.

Esinakho Ndabeni’s diverse approach on the subject left me gagging with contentment. Her feministic approach blatantly highlighted so many things which were vague or of which I really think society easily turned a blind eye to, like the hyper-masculinity that strived within the Kwaito “cult” and that continues to strive generally in all male dominated spheres and industries. She also unapologetically touched on how the media and government do little to nothing and are low-key mere perpetrators of the staggering marginalized gap between men and women in South Africa.

To reminisce. To find a sense of belonging and to be poised by nostalgia, is all and more that this book gave to me.

[Arehone Ramaru · Rating 4 out of 5]

What I had thought would be a pure case study on kwaito as a genre, its background, offerings and role players turned into a interpretation of society and it's progress as a whole. Esinako constantly comes in with the hard hits with unparalleled criticism and key feminist views while Sihle always seems to tone it down with constant backstories. From a informative point view, I was in constant awe and had YouTube and a Google right next to me at all times. Beautiful book that easily could have had a different title while still keeping its essence. Also key to note how much has changed drastically from the book's publishing in 2018 to the current year, 2020.

Kwaito will always live on in our hearts because it is an embodiment of identity.

[Lindiwe Maile · Rating 4 out of 5]

Kwaito is such a purely South African genre and reading a book that portrays kwaito as more than just beats and repeat words has been a ride.
I was particularly captured by the academic conversations the authors are bringing to the table, conversations like how kwaito was in-fact political, feminism in kwaito, hypermasculity etc.
The interviews allowed us to get an insight into what the makers of the music we all so loved growing up and now think of the music and how it influenced the socio-cultural landscape of our country and the entertainment industry.
One thing is certain, the authors love Kwaito and because of that they take a deep interrogative approach into the genre as they explore it’s influence.
Thoroughly enjoyed these essays. A job well done these authors, for giving us a purely South African story with an academic and journalistic twist.
Also, i may just give gcom a chance thanks to the last chapter.
I was really sold at politicising kwaito. ❤️

[Khulekani Magubane · Rating 4 out of 5]

Esinako Ndabeni's essays apply the prism of the units of culture to youngest - and perhaps the last - of the pure South African music genres.
Sihle Mthembu's interviews with kwaito's foremost artists and producers bring a refreshing insight behind some of the most memorable sounds of post democratic South Africa.
The pair combine their efforts to illustrate succinctly how music considered to be about partying and rebellion tells us more than we would care to admit about the society we live in and how we got here.
Get it now.

[Letlhogonolo Mokgoroane · Rating 4 out of 5]

This book is an absolutely must have.

[Mnike · Rating 5 out of 5]

Lovely